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20 0 2 Warsaw Autumn Autumn Warsaw Pictograms intheprogramme: Audio broadcast andrecording Video retransmission andrecording (only available duringtheconcert) Live streaming www.warsaw-autumn.art.pl available on:

Honorary Patronage Deputy Prime Minister, Minister of Culture and National Heritage / Piotr Gliński Festival Director Mayor of the Capital City Jerzy Kornowicz of Warsaw / Rafał Trzaskowski Managing Director Organiser Grażyna Dziura Polish Composers’ Union Festival Office Mieczysław Kominek / President Ewa Radziwon-Stefaniuk Coorganisers Katarzyna Rola-Domańska Warsaw Philharmonic Promotion Polish Radio, Channel 2 Anna Kierkosz Festival Partners Little Warsaw Autumn Society of Authors ZAiKS Paulina Celińska / curator Museum of Warsaw TVP Kultura Warsaw Autumn Hits the Club Little Warsaw Autumn Partner Dagna Sadkowska / curator Anna Makowska / coordinator The Xawery Dunikowski Museum of Sculpture – Division of Cooperation the National Museum in Warsaw Barbara Okoń-Makowska / sound Repertoire Committee projection consultant Kamil Sajewicz / sound system Krzysztof Baculewski coordinator Szymon Bywalec Paweł Pniewski / lighting, Paweł Hendrich multimedia and technology Jerzy Kornowicz / Chairman coordinator Krzysztof Kwiatkowski Katarzyna Naliwajek Programme book edited by Krzysztof Szwajgier Wojciech Bońkowski Marta Śniady Ewa Radziwon-Stefaniuk Krzysztof Wołek Adam Suprynowicz Artur Zagajewski Translations Wojciech Bońkowski Tomasz Zymer

Graphic design Adam Dudek

Festival Office Rynek Starego Miasta 27 00-272 Warsaw phone: 22 831 06 07 phone: 22 635 91 38 e-mail: [email protected] www.warsaw-autumn.art.pl Warsaw Autumn 2020 expresses its gratitude for the financial assistance and commitment to the Festival offered by: The Ministry of Culture and National Heritage The Capital City of Warsaw PZU Foundation and contributors: Austrian Cultural Forum in Warsaw Deutscher Musikrat Goethe-Institut Society of Authors ZAiKS STOART Performing Artists’ Union PWM Edition Institute of Music and Polish Radio, Channel 2 Travel Management – Stare Miasto Biletomat.pl Malina Art

Festival media partners Polish Radio Polityka TVP Kultura Presto Co Jest Grane 24 Going. Wysokie Obcasy

Little Warsaw Autumn Festival media partners Dzieciom Kosmos dla dziewczynek czasdzieci.pl miastodzieci.pl

The Festival is cofinanced by the Minister of Culture and National Heritage’s Culture Promotion Fund within the Music programme, implemented by the Institute of Music and Dance, the City of Warsaw, and PZU Foundation. Little Warsaw Autumn is cofinanced by the Minister of Culture and National Heritage’s Culture Promotion Fund.

Live streaming of the festival events thanks to the support of Society of Authors ZAiKS.

The Festival is a member of the European Conference of Promoters of New Music and the Network co-funded by the Creative Programme of the European Union.

Ladies and Gentlemen,

Warsaw Autumn director Jerzy Kornowicz, supported by members of the Programme Committee, has enrolled on an ambitious task in preparing this year’s Festival. There have been programmes in the past where the narrative was centred on a serious philosophical issue touching the essence of music, but this year, it is a particularly challenging one. “Music and language” is 2020 Warsaw Autumn’s leading theme, with an extraordinarily wide spectrum of references to philosophy and linguistics, musicology and music theory, and many other disciplines of human thought. Scholars study the relationships between music and language, examine the role of language within music, search for analogies between musical and linguistic structures. In the past, structuralists considered musical to be a language proper, limiting its study to the analysis of the musical work’s structure. Today, postmodern musicology looks at the entire cultural context of the work’s existence, and cultural interpretation of music is sometimes / 7 embedded into the compositional act itself.

This is the intellectual background of the 63rd Warsaw Autumn Festival in the year 2020, marred by the coronavirus pandemic. This scourge impacted our Festival in the spring and we were not sure then how things would unfold in the autumn. The most spectacular events, involving large ensembles, had to be reprofiled; overseas travel cancelled; but the worst outcome, cancelling Warsaw Autumn, could be averted, so we shall convene again in Warsaw’s hospitable concert halls. I am confident we will treat you to a fascinating and intriguing festival in the times of the pandemic, and that your satisfaction will be both aesthetic and intellectual.

With my best wishes for good listening,

Mieczysław Kominek President of the Polish Composers’ Union A word about the Festival’s programme

Music is a language, but language also carries its own music.

During this year’s Warsaw Autumn, these two elements will intertwine in various ways. We will thus focus on words embedded in music and music embedded in words; on the language of music and the music of language; on the common elements of music and language, the structural affinities, the grammar of music and architecture of text. We will also look at their similar functions: music and language playing an informative and communicative role, including in media; their “speech” from a social perspective. We will contemplate the possibility of expressing the most important issues through language and music; their similar intentions and premises, proper to musical and literary creation, starting from the structural similarities and differences of those genres, up to their voice in the public space; their affirmation of reality or—sometimes—the changes they postulate; the influence of music and language on reality.

There are many terms common between these two areas: motif, sentence, phrase, prologue, movement, epilogue, narrative, and form. Some terms in music and language are corresponding pairs: phonem and note; word and motif (sign); sentence and phrase; chapter and movement; book and work. Some general aspects are similar: sense, message, structure, and expression. Indeed, historically much music was composed to text. But most intriguingly, language is also present in textless music. Music refers to literary forms for example in its titles. To quote just a few twentieth- century examples: Catalogue d’oiseaux (Messiaen), Cahier d’Épigrammes (Amy), Books of Studies, Treatise (Cardew), Livre pour cordes (Boulez), Four Essays, Four Novellas, Dramatic Story (Baird), Poems (Szabelski), Livre pour orchestre and Novelette (Lutosławski). Musical works with titles referring to a book were also written by Křenek, Schnittke, Gubaidulina, Riley, Adams, Dillon, Richard Boulanger, Monk, Nilsson, and Torke. And so we have musical catalogues, booklets, epigrams, treatises, essays, novellas, stories, poems, and very many books. Current relations between music and language are complex both on the level of the matter and message of the music. There are also differences: the duration of the utterance or perception in time of a musical work versus a written text.

In the programme of this year’s Warsaw Autumn, we shall show the relationship between music and language notably through the words of François Sarhan’s new ; the advertisement texts of Georges Aperghis’s Pubs-Reklamen; the verbal–musical performance of Agata Zubel and Cezary Duchnowski’s ElettroVoce duo; the matrix of language in the music of François-Bernard Mâche, whose research on languages and music is very thorough and specific; the fusion of textual samples and transgeneric music in Juliana Hodkinson’s; the common phrases of recorded text and sounds in Peter Ablinger’s Voices and Piano; the sonorism of signs in Mark Andre’s cycle riss 1–3; the sound gestures in Kuba Krzewiński’s Contre no. 2; references to reportage in Pstrokońska-Nawratil’s The Nightingale and the Stone; the speech of sign language in Mark Applebaum’s Aphasia; and finally, language and music in relation to reality in the Feminine Forms concert, featuring works by Monika / 9 Szpyrka, Żaneta Rydzewska, Martyna Kosecka, Anna Sowa, and Nina Fukuoka. This year’s Warsaw Autumn will be framed by two great –instrumental forms with text, serving as deeply significant keys. Our inaugural concert will feature the first Polish performance of ’s Vox humana? The final concert will include Miroslav Srnka’s Speed of Truth. Warsaw Autumn will speak much more about the relations between music and language, but will also include many compositions where that relation is absent. Indeed, today’s music cannot be simplified to one issue—even if fundamental.

The coronavirus pandemic has influenced this year’s Warsaw Autumn in many ways. The President of the Polish Composers’ Union Mieczysław Kominek has touched upon those issues on the preceding pages. The influence has been both negative and, perhaps surprisingly, positive. The former includes the lack of large compositions and musical shows that would require proximity between performers and audiences; the cancellation of events where performers would need to travel over long distances; the reduced opportunity for our audiences to meet during festival events, resulting from the public gatherings limitations and necessary sanitary procedures. All the events we had to cancel because of these restrictions will be reprogrammed in future editions of the Warsaw Autumn Festival. And now to the positive impact: we have overcome the temptation of postponing the Festival by a year, or organising Warsaw Autumn online only, with some forms of home concerts and/or recorded music (although the latter will be featured in the Warsaw Autumn – Contexts series).

We have judged the organisation of Warsaw Autumn to be an important task at this time: important for our public, our performers and composers. We must not leave them alone.

Hence the formula of this year’s Festival: “reality plus.” Live events will be available for a limited audience in the concert venue but will also be streamed online. Warsaw Autumn takes place in Warsaw, but for the first time will also be followed at homes throughout the world. This year’s Festival also differs in its repertoire, which emphasises chamber—intimate—music. We can still be together, perhaps more than in the past.

Indeed, the pandemic is a time to verify what unites us through new music. Hence our thread of art using various media: the radio, video, and internet; genres such as radio feature, , and broadcast. This is a time for new expressive formulas, emerging from the need to stay in touch. We will 10 \ recall the history of the different media that connect us: for the 95th anniversary of the Polish Radio, we will reminisce on the relationship between radio and new music, including Warsaw Autumn. Even those with the Polish Radio are too extensive to discuss in detail: our Festival would not exist without the institution and the people of the Polish Radio. Likewise, there would be no Polish Radio—with its cultural ethos, legacy, and present reality—without Warsaw Autumn and without new music, created, recorded, disseminated, and archived by this institution.

Our programme this year includes concerts, musical shows, performances, indoor and outdoor activities, intermedia, improvisations, radio and internet genres, meetings, composer workshops, and radio features—nearly 50 events in total. We shall show you the striking new generation of Polish composers, and feature individual composers such as Peter Ablinger, Mark Andre, François-Bernard Mâche, Juliana Hodkinson, Grażyna Pstrokońska-Nawratil, and François Sarhan. We shall present the works of fifty composers, with twenty-three making their Warsaw Autumn debuts. We shall present twenty-three world premieres, including twelve Warsaw Autumn commissions, performed by five , two , nine ensembles, and soloists. The Festival will take place in thirteen Warsaw venues. One special presence is the concert of the Musica Polonica Nova festival, originally scheduled in the spring but postponed due to the pandemic. We have joined forces to present this valuable concert to our audiences.

Our performers this year include the Warsaw Philharmonic and , Polish National Radio Symphony Orchestra of Katowice, New Music Orchestra, European Workshop for Contemporary Music Orchestra, Chopin University Big , NFM Leopoldinum Orchestra, NFM Leopoldinum , Ensemble Vortex, Ensemble Nikel, Ensemble Garage, ProModern, Kwadrofonik, ElettroVoce, Electric Primitivo, and the 19/91 ensemble. Our soloists include sopranos Agata Zubel and Pia Davila, clarinettist Jörg Widmann, electric guitarist Tom Pauwels, violinist Adam Bałdych, and performer Leszek Lorent.

As usual, our programme will include the main Festival thread, Warsaw Autumn Hits the Club, Little Warsaw Autumn, Warsaw Autumn – Contexts, as well as fringe events and features of the Festival’s Internet Radio.

The 63rd Warsaw Autumn is the first Festival without . His works, from Strophes, with which he made his debut in 1959, made the history of Warsaw Autumn for over half a century, just as they made the history of new music as a whole. Over the forthcoming years, we will / 11 understand more deeply what Penderecki meant for new music and ourselves, its enthusiasts and servants. This year we shall remember Penderecki with his enigmatic—in sound and words—Eclogue VIII.

Despite the unfortunate circumstances, let us remain together at the 63rd Warsaw Autumn Festival!

Jerzy Kornowicz Director of the Festival Calendar of events

Friday / 18 September – Sunday / 27 September

Warsaw Autumn – Contexts / p. 20 Broadcasts of the concert recordings and the new radio features

Friday / 18 September – Sunday / 27 September

/ 17:00 / p. 26 Festival Web Radio

Friday / 18 September Calendar of events / 19:30 / p. 30 Warsaw Philharmonic / Concert Hall Zubel / ElettroVoce / Pauwels / proMODERN / Łukawski / POLISH RADIO CHOIR / Piotrowska-Bogalecka / NATIONAL POLISH RADIO SYMPHONY ORCHESTRA IN KATOWICE / Wolińska / Okoń-Makowska / Guziołek-Tubelewicz / Koniuch Georges Aperghis Pubs-Reklamen 1 François-Bernard Mâche Synergies ElettroVoce Whims for semantoabsorbing phonotyser Juliana Hodkinson …can modify completely / in this case / 12 \ not that it will make any difference… Krzysztof Penderecki Eclogue VIII Aleksandra Kaca rilievo ElettroVoce Whims for desemantric verbaphone Mauricio Kagel Vox humana?

Saturday / 19 September

/ 12:00 / p. 68 Austrian Cultural Forum Meet the composer: Juliana Hodkinson

/ 15:00 / p. 70 Austrian Cultural Forum Composition workshop Lecturer: Juliana Hodkinson

/ 19:30 / p. 72 Witold Lutosławski Polish Radio Concert Studio NEW MUSIC ORCHESTRA (ORKIESTRA MUZYKI NOWEJ) / Bywalec Mark Andre riss 1, riss 2, riss 3 Sunday / 20 September

/ 12:00 / p. 90 Austrian Cultural Forum Meet the composer: Mark Andre

/ 15:00 / p. 92 Austrian Cultural Forum Composition workshop Lecturer: Mark Andre

/ 19:30 / p. 94 ATM Studio KWADROFONIK / Kęska Peter Ablinger Voices and Piano no. 3: Lech Wałęsa Sam Pluta Seven Systems Calendar of events Peter Ablinger Voices and Piano no. 5: Kuba Krzewiński Contre no. 2 Peter Ablinger Voices and Piano no. 17: Ezra Pound Grażyna Pstrokońska-Nawratil Słowik i kamień (The Nightingale and the Stone) Peter Ablinger Voices and Piano no. 19: Pier Paolo Pasolini

Monday / 21 September

/ 10:00 / p. 106 / 13 Austrian Cultural Forum Meet the composer: Peter Ablinger

/ 12:00 / p. 108 Austrian Cultural Forum Meet the composer: Grażyna Pstrokońska-Nawratil

/ 15:00 / p. 110 Austrian Cultural Forum Composition workshop Lecturer: Grażyna Pstrokońska-Nawratil

/ 19:30 / p. 112 Witold Lutosławski Polish Radio Concert Studio ENSEMBLE VORTEX / Straszak / Kaliski Daniel Zea Swallow! Arturo Corrales Tulpa Fernando Garnero Limae labor Francisco Huguet La flor más rara Rafał Zapała Daremność (Futility) Tuesday / 22 September

/ 19:30 / p. 124 Witold Lutosławski Polish Radio Concert Studio Musica Polonica Nova at Warsaw Autumn: A special Presence Bałdych / NFM LEOPOLDINUM STRING TRIO / NFM LEOPOLDINUM ORCHESTRA / Danowicz / Hendrich Paweł Hendrich Prismiris Tomasz Skweres Concertino Przemysław Scheller Dziewczynka z zapałkami (The Little Match Girl) Ewa Trębacz Metanoia

/ 22:30 / p. 136 ATM Studio 19/91 / ELECTRIC PRIMITIVO / Kunda Calendar of events Aleksandra Kaca, Teoniki Rożynek, Żaneta Rydzewska Ultimate errors compilation Emilio Guim Lies the Snake Arturo Corrales Riff 19/91 & ELECTRIC PRIMITIVO improvisation

Wednesday / 23 September

/ 19:30 / p. 146 14 \ Witold Lutosławski Polish Radio Concert Studio Davila / EUROPEAN WORKSHOP FOR CONTEMPORARY MUSIC / Bohn Diastema François-Bernard Mâche Le son d'une voix Teoniki Rożynek Float José Sánchez-Verdú Paraíso cerrado II

/ 22:30 / p. 160 ATM Studio Feminine Forms Mglej / Woś-Gucik / Zakrzewska / Gołaj / Budziňáková-Palus / Kunda Monika Szpyrka Zoom in/dolly out Żaneta Rydzewska don’t look Martyna Kosecka Isorropía. In Search of Balance Anna Sowa Message for the Year of the Metal Rat II Nina Fukuoka Sugar, Spice & All Things Nice Thursday / 24 September

/ 19:30 / p. 176 Warsaw Philharmonic / Chamber Hall ENSEMBLE NIKEL Fleisch Hugues Dufourt L’Atelier rouge d’après Matisse Clara Iannotta Outer Space Matthew Shlomowitz Graveyard Slot (with guest appearance)

Friday / 25 September

/ 19:30 / p. 192 ATM Studio Sarhan / ENSEMBLE GARAGE / Philippe / Kęska François Sarhan The Right Ear Calendar of events

Saturday / 26 September

/ 12:00 / p. 210 Austrian Cultural Forum Meet the composer: François Sarhan

/ 15:00 / p. 212 Austrian Cultural Forum Composition workshop / 15 Lecturer: François Sarhan

/ 19:30 / p. 214 Warsaw Philharmonic / Concert Hall Lorent / Widmann / CHOPIN UNIVERSITY BIG BAND / Kostrzewa / WARSAW PHILHARMONIC CHOIR / Michałowski / WARSAW PHILHARMONIC ORCHESTRA / Boreyko / Tomasiewicz / Okoń-Makowska / Guziołek-Tubelewicz / Koniuch / Bereza Mark Applebaum Aphasia Christian Winther Christensen for a Movie Loop Mikołaj Laskowski Infectious (Feel It®) Joanna Woźny canti in/versi Miroslav Srnka Speed of Truth Little Warsaw Autumn for children aged 4–12

Friday / 18 September – Sunday / 27 September

/ 10:00–18:00 / p. 22 Sculpture Park in Królikarnia Michał Silski Trambambula sound installation

Saturday / 19 September

/ 11:00 and 16:00 / p. 64

Little Warsaw Autumn Sculpture Park in Królikarnia KWARTLUDIUM / Niedźwiedź KWARTLUDIUM Olimpiada muzyczna (Musical Olympics) music performance

Sunday / 20 September

/ 11:00 and 16:00 / p. 86 Museum of Warsaw Smoluk-Moczydłowska / Harz / Romańczuk / Gawlikowski / Kuziela / Ołdakowski / Rodakowski / Niziński / Ożóg / Niedźwiedź Paweł Romańczuk Eksponuty (Exhibitones) 16 \ concert/installation

Saturday / 26 September

/ 11:00, 13:00 and 16:00 / p. 200 Museum of Warsaw / Syrena Cinema Aleksandra Cieślak, Edward Sielicki Piwnice. Zagadki spod podłogi (Basements. Mysteries from under the floor) radio feature-opera

Sunday / 27 September

/ 11:00, 13:00 and 16:00 / p. 238 Museum of Warsaw / Syrena Cinema Aleksandra Cieślak, Edward Sielicki Piwnice. Zagadki spod podłogi (Basements. Mysteries from under the floor) radio feature-opera Warsaw Autumn Hits the Club

Saturday / 19 September

/ 22:30 / p. 80 Pardon, To Tu Lundén / Zemler / Ptak Ida Lundén Han Hubert Zemler Prądy telluryczne (Telluric Currents) Club the Club Hits Autumn Warsaw

Thursday / 24 September

/ 22:30 / p. 186 Pardon, To Tu Jacaszek / Kurek / Ptak Michał Jacaszek savannah speaking Piotr Kurek Let’s Run Around in Circles. I Know We Can

/ 17 Fringe events

Thursday / 17 September – Friday / 30 October

/ 9:00–17:00 / p. 242 Austrian Cultural Forum Karolina Breguła, Karl Salzmann After-sound exhibition Opening of the exhibition: Thursday / 17 September / 18:00 Organised by Austrian Cultural Forum

Saturday / 20 September

/ 17:00 / p. 244 Austrian Cultural Forum Alfredo Ovalles – piano recital Fringe events Organised by Austrian Cultural Forum

/ 22:30 / p. 246 SPATiF Club Concert of the Youth Circle of the Polish Composers’ Union Organised by Polish Composers’ Union – Youth Circle

18 \ Monday / 21 September – Wednesday / 30 September

/ 12:00–16:00 (Monday – Wednesday, Friday) / 14:00–18:00 (Thursday) / p. 248 XX1 Gallery 7th Performance for sounds – Andrzej Mitan exhibition – objects, documentations Organised by Fundacja Sztuk Krytycznych

Tuesday / 22 September

/ 18:00 / p. 250 Mazovia Institute of Culture 7th Performance for sounds – Andrzej Mitan Poza czasem i przestrzenią (Beyond Time and Space) concert Organised by Fundacja Sztuk Krytycznych

Wednesday / 23 September

/ 17:00 / p. 252 Fryderyk Chopin University of Music / Henryk Melcer Hall Polish Contemporary Music 3 – Chopin University Press Organised by Fryderyk Chopin University of Music Thursday / 24 September

/ 17:00 / p. 254 PWM Edition Concert of the Warsaw Branch of the Polish Composers’ Union, from the cycle “Musical Seasons – Autumn” Organised by Polish Composers’ Union – Warsaw Branch

Saturday / 26 September

/ 18:00 / p. 256 Warsaw Philharmonic / Chamber Hall Concert and presentation of a new website dedicated to Roman Maciejewski www.maciejewski.polmic.pl Fringe events Organised by Polish Music Information Centre POLMIC

Sunday / 27 September

/ 16:00 / p. 258 Komuna Warszawa Cezary Duchnowski, Maciej Filipczuk Diabelskie skrzypce (Devil’s Fiddle) / 19 staged concert Organised by Fundacja Automatophone Friday / 18 September – Sunday / 27 September

/ Warsaw Autumn – Contexts

20 \

Partners of the project: TVP KULTURA and Kapitał Radio Friday / 18 September – Sunday / 27 September

TV broadcasts of the concert recordings on TVP Kultura:

18 September / 22:30 La lointaine (The Distant One) (2002)

25 September / 22:30 Tavener, Harvey and Soulful (2004) / 21

Radio broadcasts of the new radio features on Kapitał Radio.

Details on festival's website: www.warsaw-autumn.art.pl Friday / 18 September – Sunday / 27 September / 10:00–18:00 Sculpture Park in Królikarnia

/ Little Warsaw Autumn

22 \

Partners of the project: The Xawery Dunikowski Museum of Sculpture – Division of the National Museum in Warsaw, Society of Authors ZAiKS Friday / 18 September – Sunday / 27 September

Michał Silski Trambambula (2020)** sound installation (Warsaw Autumn commission with the support by / 23 Society of Authors ZAiKS)

** first presentation Michał Silski Born in 1965 in Santiago de Chile. He has built musical equip- ment and written articles for Informatyka, Wiedza i Życie, and

Friday / 18 September – Sunday27 September / Bajtek periodicals, among others. In the late 1980s, he started working as a sound engineer notably at the Centre for Contem- porary Art. He has also cooperated with the Polish Radio Ex- perimental Studio. As an IT expert, he crafted the first Radio Zet transmitter, and has coorganised sound events with many leading Polish artists. He has authored numerous installations: the “interactive baton” sound device for the Szczecin Opera (2016), the multimedia installation The Spirit of Time presented at the Instytut 116 Gallery (2015), and Alice in the Saxon Garden presented at the Zachęta National Gallery of Art (2013).

Trambambula Trambambula appeared to me as striking alternative name for the popular table football. But let us remember what Alfred Korzybski said about the world image we construct in our minds, believing it to be comprehensive and true. Compared to the world’s enormity, complexity, and ever-changing character, our knowledge of it, although it might reflect a personal voyage through life, is by definition fragmentary, subjective, and hope- lessly poor. So there must be masses of people familiar with tram- bambula and I have been living in ignorance. No less striking is 24 \ the genial idea to play table football in a musical way. The temp- tation to programme sound was enormous, though I have even- tually abandoned it. During play, contact between the ball and the players’ figures is translated into sound—but only to the ex- tent that the figures knock. So let them start sounding! They will follow the pattern of an ancient percussive instrument. In a sense, it is a way of encoding an algorithm directly into matter. Likewise, the clockmaker is a programmer—only he writes no code but manufactures various pegs. We make use of the simplest instru- ment that at the same time, is closest to children: the . Tuned bars will replace football players on the pitch. They will allow us to “programme” a palette of sounds specific for a given player’s position. The visual reference to is a value, making the double function of the play visible at first sight. Finally, we need to decide which pitches to assign to players, or what melodies will be playable through a given set of passes. But I will leave this as a mystery to be disclosed during the game. Because of the COVID-19 pandemic, we have additionally used transparent screens between the players’ area and the audience, minimising the risk of infection. Michał Silski

Friday / 18 September – Sunday / 27 September / 17:00

26 \

Broadcasts from the Włodzimierz Kotoński Electronic and Computer Music Studio of the Fryderyk Chopin University of Music. Friday / 18 September – Sunday / 27 September

Festival Web Radio

Monika Pasiecznik, Tomasz Biernacki and invited guests talk about Warsaw Autumn Festival events / 27

Live streaming and podcasts available on the festival’s website: www.warsaw-autumn.art.pl.

Friday / 18 September / 19:30 Friday / 18 September / 19:30 Warsaw Philharmonic / Concert Hall

Agata Zubel soprano

ElettroVoce: Agata Zubel soprano Cezary Duchnowski electronics, piano

Tom Pauwels electric guitar

proMODERN: Marta Czarkowska soprano Ewa Puchalska mezzo-soprano Ewelina Rzezińska mezzo-soprano Aleksander Rewiński Krzysztof Chalimoniuk baritone Piotr Pieron

30 \ Grzegorz Łukawski speaker

POLISH RADIO CHOIR Maria Piotrowska-Bogalecka choirmaster

POLISH NATIONAL RADIO SYMPHONY ORCHESTRA IN KATOWICE

Monika Wolińska conductor

Barbara Okoń-Makowska, Ewa Guziołek-Tubelewicz, Aleksandra Koniuch sound projection

Partner of the concert: Society of Authors ZAiKS Georges Aperghis Pubs–Reklamen (2000–2015)* cycle for soprano movement 1 Cornflakes

François-Bernard Mâche

Synergies (1963) Friday / 18 September / 19:30 for ensemble and tape

ElettroVoce Whims for semantoabsorbing phonotyser (2020)** for voice, electronics, piano and orchestra (Warsaw Autumn commission with the support by Society of Authors ZAiKS)

Juliana Hodkinson …can modify completely / in this case / not that it will make any difference… (2015)* for electric guitar and orchestra

Krzysztof Penderecki / 31 Eclogue VIII (1972) for six male voices version for three female and three male voices

Aleksandra Kaca rilievo (2020)** for orchestra and electronics (Warsaw Autumn commission with the support by Society of Authors ZAiKS)

ElettroVoce Whims for desemantric verbaphone (2020)** for voice, electronics, piano and orchestra (Warsaw Autumn commission with the support by Society of Authors ZAiKS)

Mauricio Kagel Vox humana? (1978–1979)* for solo loudspeaker, female voices and orchestra

** first performance * first Polish performance Georges Aperghis Born in Athens in 1945, he has lived and worked in since 1963. His work is notably characterised by asking questions about languages and meaning. His compositions, whether instrumental, vocal or for the stage, explore the boundaries of the intelligible.

Friday / 18 September / 19:30 composers He likes to create twisted tracks, which allows him to keep the lis- tener active: stories emerge but are suddenly refuted. His music is not strictly linked to any dominant contemporary musical aesthetics but follows his century through a dialogue with other forms of art and an extreme openness to various in- tellectual, scientific and social fields. This otherness is combined with innovations when he includes electronics, video, machines, and automata or robots in his per- formances. He works closely with a group of performers who are entirely part of the creative process: Edith Scob, Michael Lonsdale, Valérie Dréville, Jos Houben; instrumentalists Jean- -Pierre Drouet, Richard Dubelski, Geneviève Strosser, , Uli Fussenegger; vocalists Martine Viard, Donatienne Michel-Dansac, and Lionel Peintre. Since the 1990s he has formed new artistic collaborations with dancers Johanne Saunier, Anne Teresa De Keersmaeker, and visual artists Daniel Lévy, Kurt D’Haeseleer, and Hans Op de Beeck. Major European contempo- rary music ensembles including Ictus, , Remix, Musikfabrik, , Ensemble Intercontemporain, 32 \ Vocalsolisten, and the SWR Choir have developed a working re- lationship with Aperghis through commissions that have become part of their repertoires. Georges Aperghis received the Mauricio Kagel Prize in 2011, the Golden Lion for Lifetime Achievement at the Music Biennale in 2015, and the Frontiers of Knowledge BBVA Foun- dation Award in 2016 for contemporary music. His self-published music is available for free download from the website aperghis.com (developed by Francine Lajournade / Didascalia). His other pieces have been published by Éditions Durand (Universal Music Publishing Classical): www.durand-salabert-eschig.com.

Selected works (since 2000): La nuit en tête for soprano and instrumental (2000), Machinations for four female voices, electronics and video projection (2000), Le petit chaperon rouge for children and six instruments, after Charles Perrault (2001), Quatorze jactations for baritone (2001), Petrrohl for six voices (2001), I. X. for (2001–2), Print Music for piano (2002), Dark Side, monodrama for mezzo-soprano and 18 musicians based on ’s Oresteia translated by François Regnault (2002), Paysage sous surveillance for two actors, two , two and two synthesizers, to words by Heiner Müller (2002), Le reste du temps for , dulcimer and ensemble (2003), Alter-Face for two (2004), Avis de tempête, opera to a li- bretto by the composer after Peter Szendy, Melville, Kafka and Hugo (2004), Wölfli-Kantata for six soloists and mixed choir to texts by Adolf Wölfli (2005), Contre temps for soprano and en- semble (2006), Bloody Luna for cello and ensemble (2007), Happy End for ensemble, electronics and animated film by Hans Op de Beeck after Charles Perrault (2007), Teeter-Totter for ensemble

(2008), See Saw for ensemble (2008), Movement for quar- Friday / 18 September / 19:30 composers tet (2009), P.S. for saxophone (2010), Les Boulingrin, opera buffa after Georges Courteline (2010), Luna Park, stage work for four performers to a libretto by Georges Aperghis and François Re­ gnault (2011) Études pour orchestre (2012–15), Le soldat inconnu for baritone and ensemble (2013), Retrouvailles for two percus- sion (2013), Wild Romance for soprano and ensemble (2013), Pubs – Reklamen for soprano (2000–15), Concerto for accor- dion (2015), Intermezzi for ensemble (2015–16), Passwords for six singers (2016), Migrants for two female voices and ensemble (2016–17), Thinking Things, show for four performers, robotic extensions, video, lights, and electronics (2018), Obstinate for (2018), Der Lauf des Lebens for 23 musicians and six singers (2018), The Messenger for zarb (2019).

Pubs – Reklamen Movements: 1. Cornflakes 2. Detergent 3. Toothpaste / 33 4. Soft Drinks 5. Hydrating Cream 6. Video Game 7. Shampoo

This is my first collection of seven advertisements. It is an obvious fact that in our everyday lives, we are surrounded with images and sounds, announcements that promise to fulfil our desires of more happiness and comfort but also create desires that we do not yet have. Each advertisement focuses on a different product (toothpaste, vitamins, drinks, shampoo, and so forth). These works are an attempt at transposing the contents of each ad- vertisement thanks to a specific vocal treatment that creates a ten- sion between the advertising text and the musical language. They are a pretext to allow me to continue exploring the human voice. Georges Aperghis

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François-Bernard Mâche Born in 1935 in Clermont-Ferrand, he studied music with Émile Passani and at the Paris Conservatoire, winning a prize in music philosophy in 1960. He was a founder member of Pierre Schaeffer’s Groupe de Recherches Musicales (1958–63). He also studied at the École Normale Supérieure in Paris (1955–59), graduating in Greek archaeology (1957) and literature (1958). He obtained a PhD in musicology in 1980. Guest composer and teacher in numerous countries, he is also the author of many theoretical articles and works including

Friday / 18 September / 19:30 composers Les mal entendus (La Revue Musicale, 1978), Music, Myth, and Nature (Gordon & Breach, 1992), Varèse, vingt ans après (La Re- vue Musicale, 1985), Entre l’observatoire et l’atelier (Kimé, 1998). His accolades include the Paris Biennale Award (1963), SACEM’s Georges Enesco Award (1964), Prix Italia (1977), Prix Chartier of the Académie des Beaux Arts (1984), Grand Prix National de la Musique, and Commander of the Order of Arts and Letters (1990). François-Bernard Mâche has developed an individual theory and method of composition, based on ideas of model and archetype, ideas that he has applied to many of his 70+ works. He is Director of Studies at the École des Hautes Études en Sciences Sociales.

Selected works (since 1990): Trois chants sacrés: Muwatalli, Rasna et Maponos for mezzo-soprano and electronics (1990), L’Annonce faite à Marie for tape (1990), Khnoum for sampler and five percussionists (1990), Guntur Sari for organ (1990), Gun- tur Madu for harpsichord (1990), Kengir. Cinq chants d’ sumériens for mezzo-soprano and sampler (1991), Athanor for 34 \ ensemble (1991), L’Estuaire du temps for sampler and orchestra (1993), Hiérogamie for piccolo and percussion (1993), Planh. In memoriam Witold Lutosławski for (1994), Moires for and synthetic sounds (1994), Braises for amplified harpsichord and orchestra (1994), Ziggurat for harp- sichord (1996), Ugarit for guitar (1998), Manuel de résurrection for mezzo-soprano, two samplers and MIDI keyboards (1998), Cassiopée II for mixed choir, narrator and two percussionists (1998), Brûlis for , cello and piano (1999), Portrait for tape (2000), Vectigal libens for six percussionists (2001), Melanga for female voice, sampler and slendro gamelan (2001), Les douze Lunes du serpent for 12 percussionists and tape (2001), Kurunta for mezzo-soprano, darbuka and (2001), Achéron for piano and percussion (2002), La Terza Prattica. Trois inter- ludes d’après Monteverdi for harpsichord (2003), Heol dall for vocal ensemble and two pianos (2003), Canopée for two sam- plers and string orchestra (2003), Chikop for soprano, ensem- ble and recorded sounds (2004), Taranis for narrator, choir and orchestra (2005), Medusa for piano (2005), Perseus for soprano, harpsichord, percussion and string ensemble (2007), Manuel de conversation for clarinet and electronics (2007), Les Arcadiennes. Hommage à Couperin for piano (2007), Artémis for organ and recorded sounds (2008), Thémis for harpsichord and recorded sounds (2009), Sèma, electroacoustic work (2009), Résurgence for string ensemble (2009), Râgamalika for piano and / cello (2009), Le promeneur solitaire. Autoportrait électroacoustique, electroacoustic work (2010), Largando for 12–24 mixed voices and (2012), Le Partage des flots, electroacoustic work (2012), Reflets for soprano, clarinet and electronics (2012), Pluie for one or two pianos (2013), Qaraqorum, musical tale for male voice, string quartet and electronics (2013). Friday / 18 September / 19:30 composers Synergies This work for orchestra (twenty-one instruments) and five mag- netic tracks is drawn from the “Collective Concert” of the Groupe de Recherches Musicales, which was performed at the Paris Con- servatoire concert hall on 15 March 1963 under the direction of Charles Bruck. The event was a gathering of musical proposals (notated or on tape) with the aim of obtaining an entire concert of nine proprietary works. Roughly one third of my composition thus refers to proposals by several other composers such as Luc Ferrari, Ivo Malec, and Michel Philippot, which have been rewrit- ten or subjected to electronic manipulations. François-Bernard Mâche

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ElettroVoce The ElettroVoce Duo arose out of the collaboration of two com- posers: Agata Zubel and Cezary Duchnowski. Both are charac- terised by a unique approach to music: fascination with , / 35 expansion of performance resources, and eternal seeking. For Zubel, who is also active as an avant-garde vocalist, it is a de- sire to discover new means of vocal expression; for Duchnowski, a search for new contexts for traditional instruments. This result- ed in the use of the human voice and new possibilities afforded by the computer. ElettroVoce Duo has performed at numerous contemporary music Festivals in , , Ireland, Italy, Belgium, the Nether- lands, , , and . Works in their rendition (most often their own compositions) have been recorded on many occasions by the Polish Radio, as well as presented by radio and television broadcasters. In 2005 the artists received a special prize for best ensemble with electronics at the prestigious Internation- al Gaudeamus Interpreters Competition. In 2008, the Duo was awarded the Wrocław Music Prize for its record ElettroVoce.

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Agata Zubel Composer and singer, known for her unique vocal range and use of techniques that challenge stereotypes, Agata Zubel gives con- certs throughout the world and has premiered numerous new works. She is a champion of new music. She has cooperated with lead- ing ensembles such as Klangforum Wien, Musikfabrik, Ensemble intercontemporain, Ictus, , Eighth Blackbird, Chamber Players, San Francisco Contemporary Music Players, Neue Vocalsolisten, Remix Ensemble, 2e2m Ensemble, as well as the ORF Radio Symphony Orchestra, State Opera in Hanover, , Warsaw Philharmonic Sympho-

Friday / 18 September / 19:30 composers ny, National Polish Radio Symphony Orchestra in Katowice, and many others. As a singer and composer, Agata Zubel has cooperated with nu- merous festivals, philharmonics, and opera companies as well as leading ensembles such as the Walt Disney Concert Hall in Los Angeles, Vienna’s Konzerthaus and Musikverein, ’s Kon­ zert­haus, ’s Musikgebouw, ’s Elbphilharmo- nie, the philharmonics of Berlin, , Luxembourg, , Essen, London’s and Royal Festival Hall, Porto’s Casa da Música, New York’s National Sawdust, Seattle Sympho- ny, Chicago Symphony, Baltimore Symphony, L’Opéra de Reims, Warsaw Philharmonic, the philharmonics of Cracow, Łódź, Szczecin, Gorzów, Katowice, the National Polish Radio Sympho- ny Orchestra, National Music Forum in Wrocław, Grand Theatre – National Opera in Warsaw, Cracow Opera, Wrocław Opera, and many others. She has participated in leading festivals including the BBC Proms, Wien Modern, Donaueschinger Musiktage, Festival d’Automne in Paris, Warsaw Autumn, MaerzMusik, Summer Courses for 36 \ New Music in , Ultraschall in Berlin, Wittener Tage für Neue Kammermusik, Huddersfield, Art Festival, Avan- ti! Festival in Porvoo, Other Minds Festival in San Francisco, Beethoven Festival in , Musikprotokoll, Ankara Festival, Klara Festival in Brussels, Festival of Electronic Music in Karls- ruhe, Melos–Ethos Festival in Bratislava, Festival de Wallonie in Mons, Wratislavia Cantans, Chopin and His Europe, Easter Lud- wig van Beethoven Festival, Sacrum Profanum, Musica Poloni- ca Nova, Musica Electronica Nova, Culture Nature in Katowice, Chain, and many others. She is a lecturer at the Music Academy in Wrocław, where she completed her postdoctoral studies in 2014. Her awards include Merit for Polish Culture and Gloria Artis, as well as scholarships from the Polish Ministry of Culture, Rockefeller Foundation, Ernst von Siemens Foundation, and Kultur Kontakt in . She is a member of the Polish Composers’ Union.

Selected works (since 2005): Symphony no. 2 for 77 musicians (2005), String Quartet no. 1 for four cellos and computer (2006), Permissible Load for percussion and computer (2006), Cascan- do for voice, , clarinet, violin and cello (2007), Of Songs for voice, cello, choir and orchestra (2007), Between, opera / ballet for voice, electronics and dancers (2008), Symphony no. 3 for and symphony orchestra (2008–9), Not I for voice, cham- ber ensemble and electronics, to words by (2010), Oresteia, drama / opera for soloists, actors, choir, percussion and electronics (2011), for percussion trio (2011), Aphorisms on Miłosz for soprano and ensemble, to words by Czesław Miłosz (2011), The Streets of a Human City for ensemble (2011), Shades of Ice for clarinet, cello and electronics (2011), Labyrinth for voice and chamber ensemble, to words by Wisława Szymborska (2011),

What is the Word for voice and chamber ensemble, to words by Friday / 18 September / 19:30 composers Samuel Beckett (2012), Wounded Angel for double- trumpet (2009–12), Percussion Store for percussion ensemble and or- chestra (2012), Lullaby for mixed choir, to words by Shakespeare (2013), In Between the Ebb of Thoughts and the Flow of Sleep for voice, piano and string orchestra, to words by Tadeusz Dąbrowski (2013), IN for large symphony orchestra (2013), Cadenza for vi- olin (2013), Where To for ensemble (2014), for violin and chamber orchestra (2014), Chapter 13 for soprano and instrumental ensemble, to words by Antoine de Saint-Exupéry (2015), Madrigals for five voices (2015), In the Shade of an Un- shed Tear for orchestra (2016), Double Battery for instrumental ensemble with optional augmented sound space (2016), The Al- phabet of the Ars Brevis for two male voices (2016), Bildbeschrei- bung, opera–form for two voices, instrumental ensemble and electronics, to words by Heiner Müller (2016), Cleopatra’s Songs for voice and instrumental ensemble, to words by William Shake- speare (2017), Mother Lode I–III, cycle of chamber works (2017), Fireworks for large symphony orchestra (2018), Chamber for piano(s) and instrumental ensemble (2018), 3x3 for / 37 instrumental ensemble (2019), Piano piano but not pianissimo for piano(s) (2019), Friction for trumpet, and (2020), Triptyque for instrumental ensemble (2020).

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Cezary Duchnowski Born in 1971 in Elbląg, composer and pianist. He studied com- position with Leszek Wisłocki at the Karol Lipiński Academy of Music in Wrocław. He was one of the initiators of the Computer Composition Studio at this Academy, where he currently teaches computer music and composition. He writes chamber and symphonic works, film and theatre music. Since many years, he has focused on electroacoustic music. In the ElettroVoce duo with Agata Zubel, he develops projects for voice and electronics. As a great promoter of improvised mu- sic, eagerly collaborating with musicians and other artists for whom live music-making is a life’s passion. With Paweł Hen- drich and Sławomir Kupczak, he founded Phonos ek Mechanes, an ensemble performing “human electronics,” a special type of improvised electronic music in which computers are controlled by acoustic instruments. With Marcin Rupociński, he has founded the Morphai group, which undertakes interdisciplinary artistic initiatives. Selected works (since 2005): 10 1, 8 2, 6 3, 4 4 for string quartet (2005), The Gate for symphony orchestra and computer (2005), Beard for cello and computer (2005), Martha’s Garden, chamber opera for female voice, , electronic media and in- struments to a libretto by Piotr Jasek (2006), Sweater. Broadcast 3

Friday / 18 September / 19:30 composers for announcer and electronics (2008), Cello_net for cello octet (2009), City Voices for symphony orchestra, choir and computer (2009), Throw of Dice for three computers (2009), Stazione Termi- ni, music for a Wrocław Pantomime Theatre performance (2010), 1 5 1, 2 4 2, 3 3 3 for violin, cello and electronics (2011), Cross- fade for , cello and electronics (2011), i for instrumen- tal groups and electronics (2012), Fere vetus canticum for voice and accordion (2012), The End of Poetry for voice, electric cello, orchestra and electronics (2012), acc++ca for accordion and com- puter (2012), Stone—River—Rhythm for four da gamba and electronics (2013), Music of Spatial Forms for voice, cello, strings and electronics (2013), Parallels for piano, MIDI keyboard, per- cussion and cello (2014), Drone Music for instruments and elec- tronics (2014), Symphony of Sets for instrumental groups and electronics (2015), Sequenza I. Etude for Another Strike for cymbal and computer (2016), Ball of Spring Full Moon for instruments and electronics (2017), cROSSFAdE 2 for accordion, viola and electronics (2017), Upbeat (with Rafał Augustyn, 2018); film and theatre music. 38 \ Whims for semantoabsorbing phonotyser Whims for desemantric verbaphone The ElettroVoce Duo has for nearly twenty years stayed on the balance BETWEEN the oldest and the newest instruments. Somewhere in BETWEEN, the human usually loses his/her voice to give the machine a spirit. BETWEEN, there are often words, as it makes sense for the voice. These words should be BETWEEN, with some sense. Sense is where the listener is, listening in order to lose sense and find it anew. Sense is the spirit of words, which is hidden BETWEEN words. We shall play a question about meaning and respond with sound, in order to hear the sense and the spirit. If someone hears it, we see it in BETWEEN. Agata Zubel and Cezary Duchnowski

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Juliana Hodkinson She studied musicology and philosophy at King’s College in Cam- bridge, Japanese studies at the University of Sheffield, and holds a PhD from the University of on the subject of si- lence in music and sound art. She studied composition with Per Nørgård and , and resided for many years in . She currently lives in Berlin. Her work ranges from and intimate semi-staged object pieces to large-scale electroacoustic orchestral works, and often involves visual or theatrical elements. Installations, elec- tronic performances, field recordings, samples, text, foley, and soundtracks for fashion videos also figure in her recent work. This set of interests has led her to develop collaborative practices spanning ad-hoc freelance and large institutional frameworks, in-

cluding with the Danish ensemble Scenatet (formerly Ensemble Friday / 18 September / 19:30 composers 2000), Australian interdisciplinary arts group Aphids, and Kam- merensemble , Berlin. Her music has been commissioned by many ensembles, festivals and arts organisations worldwide including , Interfilm Festival in Berlin, Chamber Made Opera in Melbourne, Den Anden Opera and Operanord in Copenhagen, Spor Festival in , Berlin Festival, SWR, Odense Symphony Orchestra, Orchestre Royal de Chambre de Mons, Scenatet, Zinc & Copper Works, Lydenskab, Kammerensemble Neue Musik, BBC Scottish Symphony Orchestra/Tectonics, Summer Courses for New Music in Darmstadt, Louisiana Museum of , Speak Percus- sion, MaerzMusik, Borealis Festival, Esbjerg Ensemble/- spuren, Wittener Tage für Neue Kammermusik, Sonar Quartett & Andreas Borregaard, Haus der Kulturen der Welt, Aber Dabei, Phønix16, and Ars Nova. She has held residencies in (Daiwa Anglo-Japanese Foun- dation) and Belgium (Pépinières Européennes pour Jeunes Ar- tistes), with the Odense Symphony Orchestra in Denmark, and in April 2014, she was guest resident at the University of Boğa- / 39 zici, Istanbul. In 2015 she received the Carl Nielsen Award, one of Denmark’s highest artistic accolades. She chaired the Dan- ish Foundation for the Arts and was a member of the board of the Danish Composers’ Union and the Initiative Neue Musik in Berlin. Currently she is active at the Carl Nielsen Foundation.

Selected works (since 2005): Befall, for four instru- ments (2005), I Greet You a Thousand Times for orchestra and video (2005), Ikke et hjem for baritone, guitar and playback (2007), We’d Just Got Back from Outer Space, When There Was a Knock at the Kitchen Door for two shengs, large orchestra and playback (2008), Scrape for cello with metal plate (2009), When the Wind Blows for piano and toys (2009), Transformation, soundtrack (2010), Fish & Fowl, and stage project (2010), Zeit Recht Pflicht Bedürfnis Raum Freude und Sehnsucht for contrabass clar- inet and electronics (2010), As We Know for speaker, percussion, violin and cello (2010), Play for brass and electronics (2010), Rückspiegel: eine Hörsituation for baritone, chamber ensemble and youth groups (2011), Versprengung for voice and instruments to a film by Ulrich Polster (2011), All My Friends Really Are Superhe- roes for horn and electronics (2011), Cozy Up, soundtrack (2011), The Priest and the Shell for electronics (2012), Allerleirauh for elec- tronics (2012), Prompt, immediate, now / very restrained and cau- tious for clarinet, percussion, viola, cello and electronics (2013), Ten Minutes Older for electronics (2013), Third-Millennium Heart for trumpet, electric guitar, toy piano, percussion and electronics (2013), Turbulence, opera for soprano, actor and live electronics (2013), Angel View for ensemble and electronics (2014), Is There Something You Can Tell Us for string quartet (2014), Ring a Ring for piano and pocket piano (2014), Paperweight Arcade, perfor-

Friday / 18 September / 19:30 composers mance with electronics (2014), …can modify completely / in this case / not that it will make any difference… for electric guitar and orchestra (2015), Lightness for percussion trio (2015), Mythology Room, installation (2015), Stoneship, installation (2015), Play On for horn, trombone, tuba and electronics (2015), Im gegenwärtigen Tempo for trio and electronics (2015), Nothing Breaking the Loos- ing, installation (2016), (something in capitals) for voices and in- struments (2017), X & X (with Niels Rønsholdt, 2017), Afgang 04.00, sound theatre (2017), And have now forgiven everything for accordion and string quartet (2018), Thresh for three musicians and video (2018), Pass for saxophone, accordion, double bass, sound objects and audience (2018), Angel View: the Movie, film in- stallation (2018), On/Off, electronic installation (2019), All Around for surround orchestra and electronics (2019), Love, stage work for voices, ensemble and electronics (2019), Recorded Delivery Video Postcard 26, performance (2019), Grenzland for 12 voices (2020).

…can modify completely / in this case / not that it will make any difference… 40 \ Written for Aart Strootman and the Danish National Cham- ber Orchestra under conductor Henrik Vagn Christensen. The world premiere took place on 27 November 2015 and marked the presentation of the biannual Carl Nielsen and Anne Marie Carl-Nielsen honorary prize. In 2016, commissioned an extension to the work, which was first per- formed in the new version on 24 April 2016 at Wittener Tage für Neue Kammermusik, with Aart Strootman and the WDR Sym- phony Orchestra under Emilio Pomárico. As in much of Juliana Hodkinson’s music, the piece explores the traditional limits of music: everything, including the elec- tric guitar, is being constantly modified. “The strings of the solo electric guitar are re-rigged and massively detuned and retuned, to achieve an extremely noisy and low bass register, as well as to create meandering microtonal bends and slides. The music, and even the instruments, are under modification the whole time,” the composer writes. Embedded in the score are news headlines from the months when the composer was working on the piece, sonified in the music according to Morse code or converted through other compositional devices. These initiatives “attempt to create a relation between current events, their representations in media and communications, and the material aspects of a musical work,” or rather assume such relations while acknowledging that they are hard to discern. The title comes from Hodkinson and Troup’s chamber opera, Turbulence, where the words are spoken by a pilot at the end of the opera. …can modify completely / in this case / not that it will make any difference… was broadcast live by the following radio sta- tions: Danish Radio P2, BBC 3, Switzerland’s SRF 2 Kultur, DeutschlandRadio­ Kultur, WDR3, and Iceland’s Rás 1.

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Krzysztof Penderecki (1933–2020) Born in 1933 in Dębica, he studied philosophy, art history and literature at the in Cracow. His first teach- er of composition was Franciszek Skołyszewski. Between 1954 and 1958 he studied at the State High School of Music in Cra- cow with Artur Malawski and, after Malawski’s death, Stanisław Wiechowicz. In 1959 three of his works: Strophes, , and Psalms of David won the Polish Composers’ Union compe- tition. In 1960 he captured the attention of Western critics with , performed at the under the direction of Hans Rosbaud. His international position was consolidated in the 1960s with performances of works such as Threnody to the Victims of Hiroshima (awarded at the UNESCO International Rostrum of Composers in 1961), St Luke Passion (Great Arts Award of the Land of North Rhine-Westphalia, 1966 and Prix Italia, 1967), and (Prix Italia, 1968). In 1967 he was also awarded the Sibelius Gold Medal. Between 1966 and 1968, he taught at the Folkwang Hochschule / 41 für Musik in Essen while composing the opera The Devils of Lou- dun (after Aldous Huxley), whose world premiere took place at the Hamburg State Opera in 1969 (directed by Konrad Swinarski and conducted by Henryk Czyż); it was later staged at theatres throughout the world, and premiered in a new version in 2013 in Copenhagen. His other highly acclaimed include Paradise Lost (premiered in Chicago in 1978), The Black Mask (, 1986), and ( in , 1991). Penderecki served as Vice-Chancellor of the Academy of Mu- sic in Cracow (1972–87). From 1973 to 1978 he lectured at . Since 1973 he also pursued a highly successful career as a conductor. Penderecki’s long list of honours granted to him in Europe, Asia and both Americas is too long to list them all here; it confirms his position as one of history’s greatest composers (as he was called in the comment to one of his awards). Accolades present- ed to him in Poland include the Award of the Polish Compos- ers’ Union (1970), Commander’s Cross with Star of the Order of Polonia Restituta (1993), and the Order of the White Eagle, Poland’s highest state decoration (2005). He has also received state awards in Germany, Austria, and , as well as the Honegger (1977) and Sibelius (1983) Prizes, Premio Loren- zo Il Magnifico (1985), Karl Wolff Foundation Award in Israel (1987), (1992), Greatest Living Composer of the Year at the MIDEM in Cannes (2000), Romano Guardini Award from the Catholic Academy in Bavaria (2002), European Church Music Award during the Festival of European Church Music in Schwäbisch Gmünd (2003), State Award of the Land of North Rhine–Westphalia (2002), and the 16th Præmium Im-

Friday / 18 September / 19:30 composers periale, bestowed by Prince Hitachi of Japan in Tokyo (2004). In 1990 the Federal Republic of Germany honoured him with the Great Cross of Merit, the only federal decoration of Ger- many. From the same year, he has held the title of Chevalier de Saint-Georges. In 2008 Krzysztof Penderecki (who was partly of Armenian descent himself) was presented with the Gold Medal of the Armenian Minister of Culture, and in 2009 with the Or- der of Honour of Armenia (by the President of the Republic of Armenia). The composer’s other honours include the honorary citizenship of (1995); an honorary membership of the American Academy of Arts and Letters (1998); the honor- ary citizenship of his home city of Dębica (2003); honorary doc- torates or professorships from the Adam Mickiewicz University in Poznań, in Washington, Tchaikovsky Conservatoire in Moscow, Hong Kong Academy for Performing Arts, Beijing Central Conservatory of Music, the universities of Glasgow, Rochester, Bordeaux, Leuven, Belgrade, , Leip- zig, , Yale, Seoul, and the in Pittsburgh. He was a Fellow of the 42 \ in London, member of the Accademia Nazionale di Santa Ce- cilia in , Royal College of Music in Stockholm, Akademie der Künste in Berlin, and Academia Nacional de Bellas Artes in Buenos Aires. 2013 saw the opening of the Krzysztof Penderecki European Centre for Music in Lusławice, combined with the composer’s 80th birthday celebrations. In 2015 Krzysztof Penderecki was granted the title of Honorary President of the Polish Composers’ Union. Krzysztof Penderecki’s other passion was gardening. In the ar- boretum that he established on his estate in Lusławice, he has planted and cultivated several hundred varieties of trees. He died on 29 March 2020 in Cracow.

Selected works (since 1990): Ubu Rex, opera buffa after Al- fred Jarry (1990–91), String Trio (1990–91), Sinfonietta per archi (1992), Symphony no. 5 (1992), Concerto for flute (or clarinet) and chamber orchestra (1992), Clarinet (1993), Sin- fonietta no. 2 for clarinet and strings (1994), Divertimento for cello (1994), Symphony no. 3 (1988–95), Violin Concerto no. 2 Metamorphoses (1992–95), (1992–95), Sym- phony no. 7 Seven Gates of Jerusalem for soloists, speaker, three mixed choirs and orchestra (1996), Serenade for string orchestra (1996–97), Hymn to St Daniil for mixed choir and orchestra (1997), Hymn to St Adalbert for mixed choir and orchestra (1997), for soloists, children’s choir, mixed choir and orchestra (1998), Violin no. 2 (1999), Sextet for violin, viola, cello, clarinet, horn and piano (2000), Concerto grosso for three cellos and orchestra (2000–1), Piano Concerto Resurrection (2001–2), Largo for cello and orchestra (2003), Concerto grosso no. 2 for five clarinets and orchestra (2004), Symphony no. 8 Lieder der

Vergänglichkeit for three voices, choir and orchestra (2004–5), Friday / 18 September / 19:30 composers String Quartet no. 3 (2008), Three Chinese Songsfor baritone and orchestra, to words by Chinese poets translated by (2008), Concerto for horn and orchestra Winterreise­ (2007–9), Kaddish for soprano, tenor, reciter, male choir and orchestra, to words by Abraham Cytryn and the Bible (2009), “A Sea of Dreams Did Breathe on Me…” – Songs of Reverie and Nostalgia for so- prano, mezzo-soprano, baritone, choir and orchestra, to words by Polish poets (2011), Concerto doppio for violin, viola and or- chestra (2012), no. 3 for orchestra (2012), Ada- gio from Symphony no. 3 for string orchestra (2013), Quintetto per archi for two , viola, cello and double bass (2013), Dies illa for three soloists, three mixed choirs and orchestra (2014), Concertino for trumpet and orchestra (2015), (2015), Polonaise for symphony orchestra (2015), Domine quid multiplicati sunt for mixed unaccompanied choir (2015), String Quartet no. 4 (2016), Symphony no. 6 Chinese Songs for baritone, symphony orchestra and erhu (2017), Lacrimosa no. 2 for sopra- no, women’s choir and chamber orchestra (2018), A Fanfare for Free Poland for symphony orchestra (2019). / 43 Eclogue VIII The text of Virgil’s song narrates a mysterious ritual by a young girl, who tries to reignite love in her unfaithful lover. On the one hand, it describes a series of magical actions, and on the other, the very spell repeated at the end of each successive stanza works as a , which ritualises the narrative. The ritual’s stages are marked by various formulas, initially soft ones, with the use of so- called white magic (pharmaceutria alba): prayers to ancient gods such as Apollo, Luna, and Venus, later moving to more radical or downright dangerous formulas of so-called black magic (pharma- ceutria nigra): poisonous herbs. The song’s last stanza brings good news: the magic worked and the lover has returned. In his interpretation of the text, Penderecki follows the dramatur- gy of Virgil’s poem, establishing a higher level of “purely musical tensions: formal, expressive, and fonic (timbral),” to quote Bar- bara Cisowska.1 The sentences set to music by Penderecki often become incomprehensible, various words—with the exception of keywords—losing their layer of meaning. This happens through superimposition, reordering, and intertwining of words, single syllables and phonems. Abandoning the regularity of the ancient hexameter, Penderecki “aims at enriching the text from the mu- sical and sonoristic point of view, bestowing original articulation

1 Barbara Cisowska, “Ecloga VIII,” in Współczesność i tradycja w muzyce Krzysztofa Pen- dereckiego (Cracow: Academy of Music in Cracow, 1983), 137–38. and therefore emphasising the crucial aspect of the work: the text’s character and expression.”2 In so doing, the composer obtains a musical equivalent of the magic ritual, which he sets in two sharply defined semantic parts. The first section, Katadesis, sets the first six stanzas of

Friday / 18 September / 19:30 composers the text, presenting the ritual up to its climax. The second sec- tion, Apolysis, corresponds to the very conclusion of Virgil’s song. These Greek terms of casting and resolving the plot might seem merely a reference to the dramaturgy and narrative of the ver- bal–musical action. Yet katadesis and katadeo, “I bind,” can also mean “spell,” “bind by casting a spell,” while apolysis in this con- text can be understood as “breaking the spell,” “freeing oneself from the bond.” Etymology thus shows that bonding and break- ing from bondage has a predominantly magical meaning here.3 In the timbral shaping of this form, the typical sonoristic music principle dominates of juxtaposing textural and timbral struc- tures: linear and vertical, dynamic and static. Their succession is strictly governed by the textual content. The description of so-called white magic is interpreted predominantly with linear timbral structures, alluding to traditional polyphony: the static structure that opens the work, an acoustic effect of breathing, can be related to the imitazione della natura of the Baroque; the dy- namic structure of the first refrain is parallel to punctualist coun- terpoint; the structure from the third stanza is similar to Medieval 44 \ hocket. The mood of peace and balance is also mapped by Penderecki through the use of performing indications such as tempo del respiro or sostenuto. Change is merely brought by the music of the second stanza, where linear structures give way to a homo- rhythmically chanted text marked energico. Here, Penderecki anticipates the type of narrative that depicts the black magic ritu- al in the fourth, fifth, and sixth stanza: sostenuto is replaced by furioso, vivo, or agitato. The concluding apolysis synthesises the earlier techniques, while the last bars, mirroring the effect of the work’s opening, clearly establish an arch-like structure of the entire work. Eclogue VIII combines traditional contrapuntal techniques with vivid, purely timbral experimentation. The work thus continues Penderecki’s style known from works such as the Passion, Cos- mogony, Canticum Canticorum, and . Agnieszka Draus

2 Ibid., 139. 3 In many language families, “bonding” can also refer to casting magic: in Turkic and Ta- tar languages bag, baj, boj signify both “sorcery” and “band, cord”; the Latin fascinum, “charm, malefic spell” is related to fascia, “band, bandage”; Romanian legatura means “act of tying,” but also “to bewitch”; Sanskrit yukti, properly “to harness,” “to attach,” acquires the sense of “magic means.” See Mircea Eliade, “The ‘God Who Binds’ and the of Knots,” in Images and Symbols: Studies in Religious Symbolism, trans. Philip Mairet (Princeton: Princeton University Press, 1991), 114–15. Friday / 18 September / 19:30 composers

/ 45 Eclogue VIII

KATADESIS ALBA PHARMACEUTRIA Effer aquam et molli cinge haec altaria vitta Friday / 18 September / 19:30 composers Verbenasque adole pinguis et mascula tura, Coniugis ut magicis sanos avertere sacris Experiar sensus; nihil hic nisi carmina desunt. Ducite ab urbe donum, mea carmina, ducite Daphnim. Carmina vel caelo possunt deducere Lunam, Terna tibi haec prium triplici diversa colore Licia circumdo, terque haec altaria circum Effigiem duco, numero deus impare gaudet. Ducite ab urbe donum, mea carmina, ducite Daphnim. Necte tribus nodis ternos, Amarylli, colores; necte, Amarylli, modo et „Veneris” dic „vincula necto” Ducite ab urbe donum, mea carmina, ducite Daphnim. NIGRA PHARMACEUTRIA Has olim exuvias mihi perfidus ille reliquit, pignora cara sui, quae nunc ego limine in ipso, terra, tibi mando, debent haec pignora Daphnim. Ducite ab urbe donum, mea carmina, ducite Daphnim. Has herbas atque haec Ponto mihi lecta venena 46 \ Ipse dedit Moeris nascuntur plurima Ponto His ego saepe lupum fieri et condere silvia Moerim, saepe animas imis ezcire sepulcris Atque satas alio vidi traducere messis. Ducite ab urbe donum, mea carmina, ducite Daphnim. Fer cineres, Amarylli, foras rivoque fluenti Transque caput iace, nec respexeris. His ego Daphnim Adgediar; nihil ille deos, nil carmina curat. Ducite ab urbe donum, mea carmina, ducite Daphnim.

APOLYSIS

CONCLUSIO Aspice: corripuit tremulis altaria flammis Sponte sua, dum ferre moror, cinis ipse. Bonum sit! Nescio quid certe est, et Hylax in limine latrat. Credimus? an, qui amant, ipsi sibi somnia fingunt? Parcite, ab irbe venit, iam parcite, carmina, Daphnis.4

4 Publii Virgilii Maronis, Bucolica et Georgica. Tabulis Aeneis. Olim a Johanne Pine… (London, 1774), 1:39–41.

CASTING ALBA PHARMACEUTRIA Bring water forth; then round these altars twine Friday / 18 September / 19:30 composers The sacrificial billet—burn thereon Rich vervain and the strength of frankincense, So I may seek by magic rites to turn My love’s sound mind; only the charm I lack. Bring Daphnis, O my songs, bring Daphnis home! For charms have power to draw the moon from Heav’n, First, I wind round thine image triple threads Of three-fold hues, and three times lead it round The altars. Gods unequal numbers love! Bring Daphnis, O my songs, bring Daphnis home! Now, Amaryllis, tie the three-hued knots And say the while, “I tie fair Venus’ bands.” Bring Daphnis, O my songs, bring Daphnis home! NIGRA PHARMACEUTRIA Long since the false one left as pledge with me His cast-off garments—dear—for they were his. I to the earth commit them—by the gate, These pledges should bring Daphnis to my side, Bring Daphnis, O my songs, bring Daphnis home! / 47 Mœris himself gave me these herbs, and these Most poisonous plants, gather’d in Pontus, where They grow in plenty—by their magic power Oft have I seen Mœris become a wolf Hiding in woods, and from deep graves call forth The shrinking ghosts, then charm the growing crops From the sown fields, to other grounds transferred. Bring Daphnis, O my songs, bring Daphnis home! Bring ashes, Amaryllis, out of doors, Throw o’er thy head into the running brook. Look not behind thee! I will now attach Daphnis with these—he scorns both gods and charms! Bring Daphnis, O my songs, bring Daphnis home!

RESOLUTION CONCLUSIO Look how the ashes of themselves have clothed With flickering flames the altars whilst I wait! A lucky omen—tho’ I know not what— And in the doorway, hear how Hylas barks. May we believe, or do all lovers dream? Now cease, my songs, for from the town at last, my Daphnis comes!5

5 The Eclogues of Virgil in English verse. Translated by John William Mackail (Lon- don: George Pulman & Sons, 1908). /

Aleksandra Kaca Born in 1991, composer, , manager, Italian literature scholar. She graduated in Italian studies from the Warsaw Univer-

Friday / 18 September / 19:30 composers sity while also studying culture production, journalism, and mul- timedia at the LUMSA University in Rome. As a translator, she has cooperated notably with the Fryderyk Chopin Institute, Cine- ma Italia Oggi Festival (Warsaw’s Muranów cinema and Cinecittà LUCE), and the Manetti Bros. directors. She has also completed postgraduate studies in Artistic Management (with the Warsaw School of Economics) and holds a master’s degree in composition from the class of Marcin Błażewicz and Krzysztof Baculewski at the Fryderyk Chopin University of Music. She has also studied composition with Simon Steen-Andersen and Niels Rønsholdt at the Royal Academy of Music in Aarhus, and has participat- ed in composition masterclasses including Komposition-Inten- sivwoche in Sauen (with Carola Bauckholt, Caspar Johannes Walter, and Manos Tsangaris), Warsaw Autumn (with Bernhard Lang and Pierre Jodlowski), and Donaueschinger Musiktage. In her creative work, she focuses primarily on timbre. She uses unusual juxtapositions, such as harp and piano in The Shad- ow Line or soprano and baritone saxophone with electronics in The Argument of Sleep. She tackles different musical genres. 48 \ She is the founder and leader of the FJORS ensemble (compo- sition, voice, keyboards, electronics). She won the 1st Prize at the 56th Tadeusz Baird Young Composers’ Competition, and was supported by the Krzysztof Penderecki Academy Association with the Music of Our Times programme for the recording (by DUX) and publication (by PWM Polish Edition) of The Shadow Line and Volière II. Her works have been performed in the , Denmark, and Poland, notably at Warsaw Autumn, Pulsar Festival in Copenhagen, Panorama Festiwal in Aarhus, Krzysztof Penderecki European Music Centre, Philharmonic, and Nowy Theatre in Warsaw. As a member of improvisation col- lectives, she has appeared in concert notably in Budapest (with the UNITRA Trio with flutist Anna Karpowicz and performer Marta Grzywacz), Containerklang in Cologne, Ad Libitum Fes- tival at the Ujazdowski Castle Centre for Contemporary Art in Warsaw, and Warsaw’s Sanatorium of Sound in the SPATiF Club (ERROR Trio with Teoniki Rożynek and Żaneta Rydzewska). Since 2019, she has managed the Hashtag Ensemble cooperative, specialising in contemporary music performance. In 2015, she founded the composers’ group gen~.rate with Teoniki Rożynek, Żaneta Rydzewska, and Rafał Ryterski, organising the New Music Concerts cycle (2015–17) and the polysensory show EMBODY (2018). In February 2020, she participated in the Creators Con- ference forum of the ECSA in Brussels. Selected works: The Shadow Line for harp, piano and cello (2014), Mémoire de l’ombre for cello (2015), Límites for string quartet and multipercussion (2015), Flarlægur for violin and viola (2016), Volière II for clarinet, cello and double bass (2017), Re- flecting Pool for ensemble (2017), Motion Blur for viola, accordion

and electronics (2017), The Argument of Sleep for saxophones and Friday / 18 September / 19:30 composers electronics (2017), Unseen for ensemble, lights, video mapping and electronics (2018), Common Ground for ensemble and elec- tronics (2018), infinite bluefor cello, symphony orchestra and live electronics (2019–20), rilievo for orchestra and electronics (2020). rilievo The starting point of my work was Yves Klein’s cycle Reliefs, which oscillates between painting and sculpture. Its expressive textures remind me of relief maps and lunar landscapes, using nuanc- es within the same colour: an intense pink or a saturated blue, known as International Klein Blue. I found them particularly in- teresting from a musical point of view. Aleksandra Kaca

/

Mauricio Kagel (1931–2008) One of the most outstanding personalities of modern music, he was born in Buenos Aires and died in Cologne. He studied / 49 philosophy and literature, but as a composer he was mainly self- -taught. He began composing in 1950, seeking musical ideas that opposed the neoclassical style dictated by the Perón govern- ment. In 1957 he went to Germany on a DAAD student grant and settled in Cologne. He became immediately and perma- nently involved in the contemporary music network as a mem- ber of the so-called second generation of Darmstadt composers. From 1958 he participated in the Darmstadt Summer Courses, where he later lectured. In 1974 he became professor of new mu- sic theatre at the High School of Music in Cologne. He was one of the founders of the Ensemble for New Music in Cologne and worked at the electronic studios in Cologne, Berlin and Utrecht. From the very beginning his name was associated above all with music theatre, the genre in which he perhaps exerted the greatest impact. Besides his radical innovations in this area, however, he also developed a highly personal aesthetics in his . Kagel’s creative output is enormous. It encompasses not only stage, orchestral and chamber music in an extremely wide range of instrumental settings, but also film scores, radio plays, and essays. Throughout its broad spectrum, his music reveals a breach with all forms of academicism as well as close ties to tradition, es- pecially to the German tradition. Imagination, originality and humour were the hallmarks of this multimedia artist. With in- exhaustible powers of , Kagel made use of a very wide array of expressive devices that, although often caustic and pro- vocative, are always placed at the service of musical discourse. He required performers to express more the dramatic than the purely musical content of a given work, to become actors or mimes, and ordered them often to comment verbally on their playing. In his

Friday / 18 September / 19:30 composers later works, he developed dramatic content from the very sound material (as in Match, where two cellos play a game against each other, with percussion as referee). Kagel’s numerous are more than documentary recordings of his stage works: they are characterised by a dominance of the visual over the musical, evident in his idiosyncratic nota- tion. His most famous film is Ludwig van, produced by the WDR in 1970.

Selected works (since 1985): Pan for piccolo and string quar- tet (1985), Sankt-Bach Passion for soloists, choir and large or- chestra (1981–85), Ein Brief, concert scene for mezzo-soprano and orchestra (1985–86), Mitternachtsstück for voices and in- struments (1986), Music for keyboard instruments and orchestra (1987–88), Quodlibet for female voice and orchestra (1986–88), Phantasiestück (1987–88), Les idées fixes, rondo for orchestra (1989), Fragmente Ode for double choir, winds and percussion (1989), Zwei Akte, Grand Duo for saxophone and harp (1989), Liturgien for solo voices, double choir and large orchestra (1990), 50 \ Nordosten from Die Stücke der Windrose for salon orchestra (1990), Opus 1.991, concerto work for orchestra (1990), Nord­ westen and Südosten from Die Stücke der Windrose for salon orchestra (1991), Konzertstück for drums and orchestra (1992), Etude no. 1 for large orchestra (1992), Passé composé, piano rhapsody (1993), Episoden, Figuren, solo for accordion (1993), String Quartet no. 4 (1993), Südwesten, Westen and Norden from Die Stücke der Windrose for salon orchestra (1993), Inter- view avec D. for Mr. Croche and orchestra, to words by Claude Debussy (1995), Schattenklänge, three works for bass clarinet (1995), L’a r t b r u i t , solo for two (1995), À deux mains, impromptu for piano (1995), Etudes no. 2–3 for large orchestra (1996), 1898, chamber symphony for voices and instruments (1996, rev. ver- sion of a work from 1972–73), Orchestrion-Straat for chamber ensemble (1996), Auftakte, sechshändig for piano and two percus- sion (1996; version for two pianos and two percussion Auftakte, achthändig, 2003), Eine Brise for 111 bikers, musically enriched sports event in the open (1996), Ragtime à trois for violin, cello and piano (1997), Playback Play, news from a musical fair, radio work (1997), Orgelmusik zu vier Händen (1997), Duodramen for voices and orchestra (1998), Impromptu no. 2 for piano (1998), Semikolon, action with (1999), Schwarzes Madrigal for voices and instruments (1999), Entführung im Konzertsaal, musical report from an incident (1999), Burleske for baritone sax- ophone and choir (2000), Quirinus’ Liebeskuss for vocal ensemble and instruments (2001), Broken Chords for large orchestra (2001), no. 1 (2001), Double Sextet for ensemble (2001), Con- certo for flute, harp, percussion and strings (2002), Der Turm zu Babel, melodies for voice (2002), Andere Gesänge, intermezzi for soprano and orchestra (2003), Magic , interrupted perpetual canon for 12 performers (2004), Vorzeitiger Schlussverkauf, un-

finished memoirs of a sound engineer, radio play (2004), Fremde Friday / 18 September / 19:30 composers Töne und Widerhall for orchestra (2005), Capriccio for two pian- os (2005), L’invention d’Adolphe Sax for and chamber choir (2006), Divertimento?, farce for ensemble (2006), Quasi niente for closed mouths (2007), In der Matratzengruft for tenor and instrumental ensemble (2007–8). Film music (since 1980): Blue’s Blue (1981), mm 51 (1983), Sze- nario: (Buñuel/Dalí) (1982), Er, tv movie based on the radio fantasy Rrrrrrr… (1984), Dressur (1985), Mitter­ nachtsstück­ (1987), Répertoire (1989), Bestiarium (2000).

Vox humana? Born in , at the same time as my mother tongue, Spanish, I learned Ladino: the language of Spanish Jews since the Middle Ages, which differed very little from literary Spanish in the fourteenth and fifteenth century. Only later, after the expul- sion of Jews from , Jewish themes became more present in this poetry, and not unlike Yiddish, words originating from other Mediterranean countries where Jews settled were “hispanised.” Since I had to learn Hebrew for my bar mitzvah, with my broth- / 51 ers we came up with a secret coded language, of which we were quite proud. It was a mixed tongue: we notated Spanish words in Hebrew script. For a long time, we corresponded in this language, only to learn years later that we had not invented anything origi- nal: in fact, we intuitively replicated the habit of many Sephardic erudites from Spanish times, and even the later era. Despite its rigid syntax and archaic expressions, Ladino is not a museum tongue. It retains a latent tension versus the Spanish language, which is continuously modified and modernised. This stems from the use of Ladino as a reservoir of epic poetry, which has been set in music ever since the sixteenth century. As long as a language remains in contact with folk music, it cannot grow old but needs to remain vivid and timeless. In the anthology of Judeo-Spanish songs, edited in 1973 by Isaac Levy (vol. 4), I found a poem from which I borrowed the first stanza: Madres amargadas Embittered mothers / Non sospirés mas Do not sigh / Non seran pedridas Will not be lost / Vuestras la- grimas Your tears. I have paraphrased these verses, which appear at the end of my through a loudspeaker placed next to the conductor like a soloist. The narrator remains invisible during the performance and speaks to a microphone behind the stage. The sopranos and altos choose words freely from their own in- vented language or from a repertoire of Ladino words. Mauricio Kagel The text is in Ladino (a language originally used by Jews in medieval Spain and still heard today).

Speaker Speaker Friday / 18 September / 19:30 composers Madres. Non sospirex. Mothers. Do not sigh. Madres. Non, non sospirex. Mothers. No, do not sigh. Non sospirex mas. Do not sigh any longer. Madres. Madres amargadas seran Mothers. Embittered mothers pedridas. will be lost. Vuestras lagrimas, madres Your tears, embittered mothers, amargadas, Non seran pedridas. Will not be lost. Madres. Vuestras lagrimas. Mothers. Your tears. Madres pedridas. Non. Lost mothers. No. Non sospirex mas. Do not sigh any longer. Madres! Mothers! Madres? Mothers? Madres?! Mothers?! Madres… Mothers …

Women’s choir Women’s choir

Non! No! 52 \

This text is a paraphrase of the first stanza of Madres amargadas, an anonymous song text that appears in the anthology Chants judéo- -espagnols, ed. Isaac Levy (Jerusalem, 1973).

Madres amargadas Embittered mothers Non sospirex mas. Do not sigh. Non seran pedridas Your tears Vuestras lagrimas. Will not be lost. Choir Choir

En cadenas non bivir la paz Not live in shackles human humana peace y llorar el coraçón en sangre, and weep your heart in blood, coraçón. heart. Friday / 18 September / 19:30 composers

Las cadenas, el muerir, Shackles, death, my la vergüença mía, shame, La vergüença, la sangre tuya es shame, your blood is my mi sangre. blood.

Bivir dolores cadenas vergüença To live in pain shackles shame con Dió, with God, coraçón, amar y llorar y muerir. heart, love and weep and die.

Amar y llorar y muerir: Love and weep and die: espantos, los dolores con Dió. dread, pain with God.

Con el coraçón y con tu alma, With heart and with your soul, alma de Dió, palomba mía. soul of God, my dove.

Tus palavras en mis lavios, mis Your words on my lips, my words palavras y la paz, and peace, los árvoles humanos y mis lavios human trees and my lips without sin amar. love. / 53

Sangre mía sangre tuya, en el alma My blood your blood, in the soul y los lavios, con la voz humana. and on the lips, with human voice.

Alma: con mi alma muerir Soul: die with my soul y sin alma bivir. and live without soul.

Vergüença, vergüença, Shame, shame, la vergüença vergüença, shame shame, palavra de espanto de espanto. word of dread dread.

Gritar: la palavra vergüença es mi Yell: the word shame is my espanto dread con mi espanto gritar y llorar, mi with my dread yell and weep, my alma. soul.

La vergüença non, Shame not, non con el gritar, not with yelling, con el gritar de mi espanto ah! with the yelling of my dread, hah!

La palavra con sangre sangre, The word with blood blood, con el gritar de mi espanto with the yelling of my dread las cadenas, con cadenas, tus shackles, with shackles, your cadenas… shackles… La paz dió con Dió, Peace came with God, si dió tu Dió dió. if came your God came.

En cadenas non bivir la paz Not live in shackles human humana peace y llorar el coraçón en sangre, and weep your heart in blood, Friday / 18 September / 19:30 composers coraçón. heart.

Las cadenas, el muerir, Shackles, death, my la vergüença mía, shame, La vergüença, la sangre tuya, shame, your blood, la palomba sin paz. the dove with no peace.

Llorar sin paz mi Dió, Weep with no peace my God, bivir sin paz mi Dió. live with no peace my God.

Llorar, muerir, gritar y muerir, Weep, die, yell and die, gritar y bivir, gritar sin paz. yell and live, yell with no peace.

Ah! Dió: La vergüença! Oh God: the shame!

Sin la voz, sin la voz mía, With no voice, without my voice, mi voz, la voz bumana. my voice, human voice.

En: en tus lavios mi prizión On: on your lips my prison 54 \ de voz humana, en la prizión, of the human voice, in prison, con tu alma, amar sin voz, with your soul, love with no voice, sin tu sangre, sin oración, sin without your blood, with no vergüença. prayer, no shame.

Bivir sin paz, paz humana, Live with no peace, human peace, paz de prizión, en cadenas. peace of prison, in shackles.

Espanto dió, dió con Dió, Dread came, came with God, Dió sin alma, en la vergüença dió, God with no soul, came with Dió en tus lavios, la voz shame, humana? God on your lips, human voice?

Palavras: la prizión, gritar, Words: prison, yell, dolor y sangre, vergüença de llorar, pain and blood, shame of crying, las cadenas, ah! shackles, hah!

Es muerir de espanto, en mis lavios It is to die of dread, on my lips el alma tuya, ay! your soul, hah! Sin tí, dolores, ah Dió! Without you, the pain, oh God!

La prizión, en cadenas, paz! Prison, in shackles, peace! vergüença, almas en paz, shame, souls in peace, gritar, palomba mía, coraçón. yell, my dove, heart. Muerir, muerir con espanto Die, die with dread y sin los árvoles, alma, and without trees, soul, y sin tu voz. and without your voice. De la sangre humana Dió, God of the human blood, llorar y gritar sin Dió, weep and yell without God, y tus lavios sangre aman, Dió. and your lips love blood, God. Friday / 18 September / 19:30 composers

Cadenas, priziones, espantos, Shackles, prisons, dread, alma, sangre, muero yo. soul, blood, I die. Non! Non? No! No?

Con cadenas non bivir la paz Not live in shackles human humana peace y llorar el coraçón en sangre. and weep your heart in blood.

Las cadenas, el muerir sin voz, Shackles, die with no voice, los árvoles humanos y mis lavios human trees and my dead muertos. lips.

Sin amar coraçón: muerir, Heart with no love: die, sin amar coraçón, sin gritar con heart with no love, not yelling mi voz with my voice es muerir en prizión. is to die in prison.

Árvoles son mis palombas del alma, Trees are my doves of the soul, árvoles son palombas del alma, trees are doves of the soul, / 55 son lavios en sangre, cadenas, are lips in blood, shackles, dolores. pain.

Llorar es gritar: vergüença! To weep is to yell: shame! Vergüença sin alma, vergüença, Shame with no soul, shame, llorar es gritar sin muerir, to weep is to yell without dying, vergüença, vergüença sin alma, shame, shame with no soul, vergüença! shame!

Bivir, amar sin Dió, To live, to love with no God, sin alma, con sangre! with no soul, with blood!

En cadenas non bivir la paz Not live in shackles the human humana de vergüença peace of shame y llorar el coraçón en sangre, sí. and weep your heart in blood, yes.

Con el coraçón en tí, en mis lavios, With the heart in you, on my lips, es el grito mío, dolores muertos it is my yell, dead pain in my en mi espanto. dread.

Si los dolores míos lloran sangre, If my pain weeps blood, mueren sangre con tu sangre, it dies blood with your blood, con tu sangre de palomba with your dovish blood mis espantos gritan árvoles de my dread yells trees of dread, espanto ah! hah! Árvoles de espanto, árvoles Trees of dread, trees of de gritos, yell, árvoles de sangre, árvoles trees of blood, trees of de coraçón. heart.

Gritar es tu oración de espanto, Yell is your prayer of dread, Friday / 18 September / 19:30 composers oración del alma, oración prayer of the soul, prayer of de muerte, death, oración con Dió. prayer with God.

En cadenas non bivir la paz Not live in shackles human humana peace y llorar el coraçón en sangre con and weep your heart in blood mi grito. with my yell.

Con el coraçón en tí el grito mío, With the heart in you my yell, si los dolores míos lloran sangre, if my pains weep blood, mueren sangre con mi sangre de they die blood with my dovish palomba, blood, yo te grito paz, con la paz, con la I yell you peace, with peace, with paz, peace, con la paz en mí, paz en mi with peace in me, peace in my vergüença, shame, con la paz y con la paz vergüença! with peace and with peace shame!

56 \ Dió mi Dió me dió Dió God my God gave me God mi Dió me dió dolores, espantos, my God gave my pain, dread, palavras humanas, con la vergüença. human words, with shame.

Dió mi Dió me dió mi Dió, God my God gave me my God en la vergüença mi Dió mi Dió gave me shame my God my God me dió soul with blood, soul with blood, alma con sangre, alma con sangre, with blood, with the blood of my con la sangre, con la sangre de mi Dió, God, con la sangre de Dió, con la sangre, with the blood of God, with blood, la sangre de mi Dió, con la vergüença, blood of my God, with shame, mi dió con vergüença, alma con Dió gave me shame, soul with God vergüença dió, alma con Dió. gave shame, soul with God.

Oración: oraciones por la paz Prayer: prayers for peace y por la paz humana, and for human peace, oraciones por la paz, oraciones prayers for peace, peace de paz prayers y por la paz humana, oraciones and for human peace, prayers por la paz y por la paz humana for peace and for human peace y por la paz humana y por la paz and for human peace and for humana. human peace.

Oraciones de paz Peace prayers o la sangre de mi Dió or the blood of my God por la paz humana, for human peace, la sangre de Dió, blood of God, y por la paz humana and for human peace la sangre de Dió. blood of God.

Y llorar llorar, And weep weep, y llorar y bivir. and weep and live. Friday / 18 September / 19:30 composers Ay! ay! llorar Oh! oh! weep ay! y llorar y bivir. oh! and weep and live.

En cadenas non bivir la paz Not live in shackles human humana, peace, las cadenas, en cadenas non bivir shackles, in shackles not live non, no, las cadenas non bivir non. shackles not live no.

Es mi vergüença, sangre, coraçón, It is my shame, blood, heart, es gritar espanto y non bivir! it is to yell dread and not live! non bivir, ay! not live, hah!

Speaker Speaker

Madres. Non sospirex. Mothers. Do not sigh. Madres. Non, non sospirex. Mothers. No, do not sigh. Non sospirex mas. Do not sigh any longer. Madres. Madres amargadas seran Mothers. Embittered mothers / 57 pedridas. will be lost. Vuestras lagrimas, madres Your tears, embittered amargadas, mothers, Non seran pedridas. Will not be lost. Madres. Vuestras lagrimas. Mothers. Your tears. Madres pedridas. Non. Lost mothers. No. Non sospirex mas. Do not sigh any longer. Madres! Mothers! Madres? Mothers? Madres?! Mothers?! Madres… Mothers…

Choir Choir

Non! No!

Translated from Ladino by Wojciech Bońkowski

/ Agata Zubel – see page 35

ElettroVoce – see page 35 Friday / 18 September / 19:30 performers Tom Pauwels Born in Bornem, Belgium, in 1974, he studied classical guitar in Brussels, Cologne, and Munster with Albert Sundermann, Hu- bert Käppel, and Reinbert Evers, respectively. In 1995, during his studies at the Brussels Conservatoire, he was the cofounder of Black Jackets Company, a Brussels collective of composers and performers. Ever since these early experiments he has been ac- tive in the field of contemporary music, both on the classical and electric guitar. From 1999 until 2001 he was a regular member of Champ d’Ac- tion, the Antwerp-based ensemble for . Since 2002 he has been the artistic coleader for the new music ensem- ble Ictus in Brussels. Project-wise, he performs with the Lon- don-based Plus–Minus ensemble. He has recorded works by Paul Craenen, , Matthew Shlomowitz, Stefan Van Eycken, Christophe Guiraud, and as well as by , Keiko Harada, Fausto Romitelli, and Georges Aperghis with Ictus En- 58 \ semble (for Cyprès). After a five-year research project on new music for guitar he became a Laureate of the Orpheus Institute with the thesis De Echo van ‘t Saluut. In 2002–17 he taught new music for guitar at the Conservatoire of Ghent, where he developed an advanced master programme with emphasis on contemporary chamber music in collaboration with the Spectra ensemble and Ictus. His broad interest in performance has led to collaborations with choreographers as Xavier Le Roy (Mouvements für Lachenmann), Maud Le Pladec (Professor, Poetry, and Concrete), and Andros Zins-Browne (The Funerals).

proMODERN The group was founded by leading vocal soloists who share a passion and skill for interpreting the most demanding works by present-day composers. During their seven years in existence, the vocal sextet released two , recorded music for two others, presented the world premieres of 28 compositions (in- cluding miniatures, larger a cappella forms, vocal–instrumental pieces, and works for voices with orchestra as well as nine differ- ent ), performed in concert at festivals and at the in- vitation of leading cultural centres, including most of Poland’s philharmonics. proMODERN has won four Polish music industry Fryderyk awards: in the Choral, and Opera Music Album of the Year category and for Best Recording of Polish Music for their debut album Where Are You? Pieces from Warsaw (2015) as well as for Contemporary Music Album of the Year and Best Recording of Polish Music for their second album, proMODERN Shakespired (2018). A composition by Philip Lawson, written on a commission for the group, reached 20,000 streams on Spotify. Friday / 18 September / 19:30 performers Grzegorz Łukawski Born in 1969, he graduated from the State High School of Thea- tre in Cracow. Since 1994, he has worked at the Juliusz Słowacki Theatre in Cracow. He has appeared notably in Aleksander Ostrowski’s Our Man directed by Valery Fokin (1994), Ramón María del Valle-Inclán’s Divine Words directed by Bartosz Szy- dłowski (1998), ’s Platonov directed by Grzegorz Wiśniewski (2000), Roger Vailland’s Heloïse and Abélard direct- ed by Agata Duda-Gracz (2001), Fyodor Dostoevsky’s The Idiot directed by Barbara Sass (2002), Maciej Wojtyszko’s Bulgakow (2002), Albert Camus’s Caligula directed by Agata Duda-Gracz (2003), Stanisław Wyspiański’s The Wedding directed by Géza Bodolay (2007), Władysław Reymont’s The Promised Land di- rected by Wojciech Kościelniak (2011), Mikhail Lermontov’s Masquerade directed by Nikolai Kolada (2013), and Honoré de Balzac’s Cousin Bette directed by Małgorzata Warsicka (2016).

POLISH RADIO CHOIR Founded in October 1948 by Jerzy Gert, the Polish Radio Choir / 59 performs both a cappella music and vocal–instrumental works, representing diverse styles and historical periods, with particular emphasis on Polish music. Besides concertising, the Choir makes recordings for the Polish Radio and Television as well as CD recordings for Polish and international record labels. It has given world premiere per- formances of works by the leading contemporary Polish com- posers including Witold Lutosławski, Henryk Mikołaj Górecki, Krzysztof Penderecki, , as well as authors of the younger generation including Agata Zubel, Aleksander Koś­ciów, Paweł Łukaszewski, Andrzej Kwieciński, and Szymon Godziemba-Trytek. The Choir has appeared regularly at numerous festivals in Po- land and abroad, including Wratislavia Cantans, Ludwig van Beethoven Easter Festival, Festival of World Premieres in Ka- towice, Warsaw Autumn, Poznań Music Spring, Festival of Polish Music in Cracow, Sacrum Profanum, Gaude Mater in Częstocho- wa, Schles­wig–Holstein Music Festival, Rossini Opera Festival, Settimana di Monreale, New Sounds Festival, and the Europalia Festival in Brussels. The Polish Radio Choir cooperates on a reg- ular basis with the Polish National Radio Symphony Orchestra in Katowice, Polish Radio Symphony Orchestra, New Music Or- chestra, and Beethoven Academy Orchestra. Until March 2012 the Choir’s activities were carried out within the structures of the Polish Radio. Following an agreement in October 2012, the brand and development of the Polish Radio Choir were taken over by the Sonoris Foundation. In January 2020, a new contract established the Polish Radio Choir Foun- dation in Cracow as the ensemble’s managing entity. The Choir is led by Maria Piotrowska-Bogalecka. Friday / 18 September / 19:30 performers Maria Piotrowska-Bogalecka She graduated in choral and music education from the Music Academy in Katowice before completing postgraduate studies in music theory at the Music Academy in Cracow. She also studied at the Kodály Institute of the Ferenc Liszt Music Academy in Budapest, and has participat- ed in masterclasses in Poland and internationally, including with in Haarlem, the International Kodály Seminar in Kecskemét, and Studium Chorale Masterclass for Choral Con- ductors in Maastricht. She was awarded the 1st Prize and Edmund Maćkowiak Special Award at the 11th National Choral Conductors’ Competition in Poznań. She has received several bursaries from the Polish Ministry of Culture and National Heritage, Marshal of the Sile- sian Voivodeship, and Mayor of Chorzów. In 2009 she received the Marshal of the Silesian Voivodeship Award. She is the founder (2007) and artistic director of the Contento Core Vocal Ensem- ble. In 2012, she obtained a PhD in choral conducting, and in 60 \ 2014 published the book Decorum et varietas. Psalms in vocal and vocal–instrumental music of the Polish baroque. Currently she is assistant professor at the Chair of Choral Conducting of the Mu- sic Academy in Katowice. She was the coordinator of the KoChAM Music Academies’ In- ternational Choir Festival in 2015, and was the Silesian region cu- rator for the Singing Poland government programme, organised by the National Music Forum in Wrocław (2015–17). Since 2017, she has been the choirmaster of the Polish Radio Choir, becoming its artistic director in 2018.

NATIONAL POLISH RADIO SYMPHONY ORCHESTRA IN KATOWICE The National Polish Radio Symphony Orchestra in Katowice (NOSPR) was founded in 1935 in Warsaw by Grzegorz Fitel- berg, who led it until the outbreak of the Second World War. In 1945, the Orchestra was revived in Katowice by Witold Rowicki. In 1947, the post of artistic director was taken again by Grze- gorz Fitelberg. After his death in 1953, the Orchestra was headed respectively by Jan Krenz, Bohdan Wodiczko, , Tadeusz Strugała, , Stanisław Wisłocki, Jacek Kaspszyk, , Gabriel Chmura and, once again, Jacek Kas­pszyk. In September 2000, Joanna Wnuk-Nazarowa became General and Programme Director of the NOSPR. From 2012 to August 2019 Alexander Liebreich was Chief Conductor and Ar- tistic Director of the NOSPR. In September 2018, Ewa Bogusz-Moore took up the post of Gen- eral and Programme Director of the NOSPR. In September 2019, became Chief Conductor and Artistic Director of the NOSPR. Apart from archive recordings for the Polish Radio, the Orchestra has recorded more than 200 CDs, winning accolades such as Dia­ Friday / 18 September / 19:30 performers pason d’Or, Grand Prix du Disque, and International Awards, among many others. Many famous conductors and soloists have appeared with the NOSPR all over the world. The Orchestra has implemented numerous projects, such as the Marathon of Górecki’s Music, Kilar Music Train, and Mar- itime Music Voyages. Winner of 2018 ICMA Special Award, the NOSPR has organ- ised the Culture Nature Festival in Katowice since 2015, as well the Festival of World Premieres – Polish Modern Music since 2005.

Monika Wolińska She began her musical education at the age of six, eventually graduating in violin, vocal–instrumental ensemble conducting (Music Academy in Bydgoszcz), and symphony and opera con- ducting (in the class of Ryszard Dudek at the Music Academy in Warsaw). She has participated in masterclasses led notably by , , Antoni Wit, and Gabriel Chmura. In 2015, she completed her postgraduate studies in management at / 61 the University of Warsaw. She is Assistant Professor at the Fry- deryk Chopin University of Music in Warsaw, where she heads the symphony and opera conducting class. She made her conducting debut in 2004 at the Lucerne Festival, where she worked with Pierre Boulez. For many years, she has been assistant to Jerzy Semkow, as well as Krzysztof Penderecki for the 2007/8 season. In 2003–9 she cooperated with the War- saw Music Academy Symphony Orchestra. In the 2007/8 season, she was the permanent conductor of the Sinfonia Iuventus. In 2012, she made her recording debut with the Sinfonia Varsovia, with an album of the complete symphonic poems of Eugeniusz Morawski that garnered universal praise and was nominated to a 2013 Fryderyk Award. In 2013–17, she was artistic director and conductor of the Gorzów Philharmonic Orchestra, with which she recorded the Bronisław Kaper / Jan A.P. Kaczmarek – Meeting CD in 2015. In 2016, she received the Success Award of the Rotary Club in Gorzów Wielkopolski for promoting the city in Poland and abroad. In 2018, she received the special prize of the Mayor of Chełm for lifetime achievement. In 2017, she was shortlisted with five oth- er female conductors from around the world to attent the 2017 Hart Institute for Women Conductors at the Dallas Opera. In 2011 she was awarded with the Medal of Merit for Polish Culture, and in 2020 she received the prestigious Gloria Artis Medal from the Polish Minister of Culture and National Heritage. Monika Wolińska is active on concert stages throughout the world, working with many renowned orchestras in Europe, Asia, and America. She is an active promoter of modern music, appearing on many occasions at Warsaw Autumn Festival and concerts from the Generation cycles. Between 2013 and 2017,

Friday / 18 September / 19:30 performers she was the artistic director of the Wojciech Kilar Contemporary Music Festival.

62 \ Saturday / 19 September 11:00 and 16:00 / 12:00 / 15:00 / 19:30 / 22:30 Saturday / 19 September / 11:00 and 16:00 Sculpture Park in Królikarnia

/ Little Warsaw Autumn

KWARTLUDIUM: Dagna Sadkowska violin Michał Górczyński clarinet, bass clarinet Paweł Nowicki percussion Piotr Nowicki keyboards 64 \

Jakub Niedźwiedź sound projection

Partners of the project: The Xawery Dunikowski Museum of Sculpture – Division of the National Museum in Warsaw, Society of Authors ZAiKS Saturday / 19 September / 11:00 and 16:00

KWARTLUDIUM Olimpiada muzyczna (Musical Olympics) (2020)** music performance (Warsaw Autumn commission with the support by / 65 Society of Authors ZAiKS)

** first performance KWARTLUDIUM The ensemble was founded in 2002, bringing together Dagna Sadkowska (violin), Michał Górczyński (clarinet, bass clarinet), Paweł Nowicki (percussion instruments), and Piotr Nowicki (piano). From the very beginning Kwartludium has focused on

Saturday / 19 September / 11:00 and 16:00 performing new music, created especially for its unique instru- mental lineup. An important place in the ensemble’s work is also occupied by contemporary improvised music. The ensemble’s repertoire includes graphic and intuitive compositions by lead- ing exponents of new music such as , Roman Haubenstock-Ramati, Bogusław Schaeffer, , and Dubravko Detoni. The ensemble has several dozen Polish and world premieres to its credit, and has given concerts in the United States, United Kingdom, Italy, Belgium, the Neth- erlands, Germany, Denmark, , Slovakia, Ukraine, Russia, Turkey, , and South . The musicians have appeared at festivals including Warsaw Autumn, Dialogue of Four Cultures in Łódź, Unsound in Cracow and New York, Ensemble Europa in Cologne, C3 in Berlin, Open Form in Copenhagen, Loop in Brussels, Nuove Musiche in Palermo, Contrasts in , Codes in Lublin, Musica Polonica Nova in Wrocław, Musica Moderna in Łódź, Laboratory of Contemporary Music in Warsaw, Audio-Art and Ad Libitum in Warsaw, New Music Days and Avant Days in Gdańsk. 66 \ In 2007 Kwartludium was awarded a scholarship under the Min- istry of Culture and National Heritage’s Young Poland pro- gramme. The ensemble has made three recordings released by the DUX label and one, in cooperation with Michał Jacaszek, released by the British label Touch. In 2015 Records re- leased Hammond Project, a recording made by the ensemble with the organist and composer Dariusz Przybylski. In 2009 Kwart- ludium, alongside 21 of the most interesting ensembles specialis- ing in contemporary music, took part in a prestigious European project, Re:New Music, promoting selected European composers. In 2012 the ensemble was invited to join another European pro- gramme, New Music:New Audiences.

Olimpiada muzyczna (Musical Olympics) is the discovery of a sound structure hidden in physicality, in the relations between instrument and body, and in the phe- nomenon of Olympic games as a set of sound actions. Motion is the basis of sound: to play a note, you need to move your body, diaphragm, finger, or hand. This is the inescapable foundation of all music. If the body is the foundation, is the fact that a musician is “focused” on playing, with his or her body ready to jump, ex- pressing unique articulation, not a source of utmost inspiration? An instrument controlled by such a physically oriented musician becomes particularly plastic: a tool of a different, physical ex- pression leading to extraordinary sound discoveries. The Musi- cal Olympics, presented at Warsaw Autumn by the Kwartludium ensemble, are thus an experimental field of expression on the bor- derline between physicality, sound, and the performer. Sound action versus the power of muscles; the state of the body versus the imagination of sound; sport-like tension versus the meaning of the sound structure. Michał Górczyński (Kwartludium) Saturday / 19 September / 11:00 and 16:00

/ 67 Saturday / 19 September / 12:00 Austrian Cultural Forum

68 \

Partner of the event: Austrian Cultural Forum Saturday / 19 September / 12:00

Meet the composer:

Juliana Hodkinson / 69 Moderator: Aleksandra Bilińska

The meeting will be elh d in Polish and English. Saturday / 19 September / 15:00 Austrian Cultural Forum

70 \

Workshop coorganised by Polish Composers’ Union – Youth Circle

Partner of the event: Austrian Cultural Forum Saturday / 19 September / 15:00

Composition workshop:

Lecturer: Juliana Hodkinson / 71 Coordinator: Aleksandra Bilińska

Active participation restricted to preselected composers; free entry for the audience (limited number of seats)

The workshop will be held in English. Saturday / 19 September / 19:30 Witold Lutosławski Polish Radio Concert Studio

NEW MUSIC ORCHESTRA (ORKIESTRA MUZYKI NOWEJ)

72 \ Szymon Bywalec conductor

Partner of the concert: Goethe-Institut Saturday / 19 September / 19:30

Mark Andre riss 1 (2015–2016), riss 2 (2014), riss 3 (2016)* for ensemble / 73

* first Polish performance of the whole cycle Mark Andre Born in 1964 in Paris, he studied composition with Claude Bal- lif and Gérard Grisey at the Conservatoire National Supérieur de Paris, and subsequently with Helmut Lachenmann at

Saturday / 19 September / 19:30 composers the High School of Music in . He has been awarded nu- merous prizes and scholarships, including the Ernst von Siemens Foundation’s Composers’ Prize (2002). He has twice been award- ed the Donaueschinger Musiktage Orchestral Prize: in 2007 for …auf… 3 for orchestra and live electronics and in 2015 for über for clarinet, orchestra and live electronics. In 2017 he received the Culture Award of the German Catholics. In 2009 he was appointed professor of composition at the Carl Maria von Weber High School of Music in . In 2012 he was a fellow at the Institute for Advanced Studies (Wissenschafts­ kolleg) in Berlin. He is a member of the Academy of Arts in Ber- lin, the Saxon Academy of Arts, and the Bavarian Academy of Fine Arts in Munich. Holger Slowik

Selected works (since 2000): kanon for , double bass and prepared piano (2000), …als… 1 for bass clar- inet, cello and piano (2001), …als… 2 for bass clarinet, cello, piano and live electronics (2001), kontra-etüde for voice, cello / double bass and (2001), asche for bass flute, bass clarinet, 74 \ viola, cello and piano (2004), …zu… for string trio (2003–5), zu staub for seven instruments (2005), durch for soprano saxophone, percussion and piano (2004–5), …auf… 1 for orchestra (2005–6), …hoc… for cello and live electronics (2005–6), ni for chamber ensemble (2006), …auf… 2 for orchestra (2007), …auf… 3 for orchestra and live electronics (2007), iv 2 for cello (2007), …es… for chamber ensemble (2008), iv 3 for clarinet (2008), üg for en- semble and electronics (2008), kar for string orchestra (2008–9), iv 4 for flute, , clarinet and tuba (2008–9), iv 7 for contra- bass clarinet (2008–9), iv 6a for trumpet (2009–10), iv 6b for trumpet (2009–10), iv 8 for string trio (2009–10), …hij… 1 for orchestra (2010), iv 1 for piano (2010), iv 9 for flute, oboe and clarinet (2010), da for chamber ensemble (2010–11), iv 11 for pi- ano (2011), S1 for two pianos (2012), Zwischenraum for ensemble (2012), e for cello (2012), iv 5 for oboe (2012), …hij… 2 for 24 voices and electronics (2012), Az for ensemble (2013), e 2 for cel- lo and double bass (2013), iv 12 for soprano saxophone (2013), wunderzaichen, opera (2013), ensof for mixed choir (2014), iv 13a for string quartet (2014), iv 14 for two guitars (2014), riss 2 for ensemble (2014), 3 for six voices (2015), S2 for percussion (2015), S3 for piano and electronics (2015), über for clarinet, orchestra and electronics (2015), an for violin and orchestra (2015), iv 11c for piano (2015), riss 1 for ensemble (2015–16), riss 3 for ensem- ble (2016) Echographie for orchestra (2016), woher… wohin for orchestra (2015–17), Atemwind for clarinet (2017), …hin… for harp and orchestra (2018), iv 15 – Himmelfahrt for organ (2018), iv 16 for tuba (2018), selig sind… for clarinet and electronics (2018), Drei Stücke für Ensemble (2019), rwh 1 for ensemble and electronics (2019), iv 17, eight miniatures for soprano and piano (2019), …hin… version for harp and ensemble (2020). Saturday / 19 September / 19:30 composers riss 1-3 Mark Andre carefully explores sound phenomena, frequently penetrating the boundaries of audibility in his music. About his work as a composer, he says: “I am interested in the problem of interspace in music composition, by which I mean spaces which are frequently concealed or extremely fragile, situated between opposites.” In his cycle riss (scratch, crack, fissure) Andre sets out to discover those spaces. A “crack” is a space “in between,” simul- taneously separating and uniting elements which mutually belong with one another. Work on the opera Wunderzaichen (2011) took Andre to Jeru- salem, where he met the theologian Margareta Gruber, whose essay Der Vorhang zerreißt (The Veil is Torn) and its interpreta- tion of the double meaning of the veil of the temple being torn in two (in the Gospel of Mark) made a considerable impression on the composer and provided an impulse for composing riss, the piece which later became the central part of the eponymous cycle. The dialectic of closeness and distance, of God’s presence and absence in the New Testament, is, for Andre, the key motif of / 75 Gruber’s writings. In his music the sound similarly “fades” or “vanishes,” as he puts it, but is at the same time electrifyingly present. Faith is at the centre of his output, even though riss is not sacred music. The composer explains:

Vanishing and fading are the fundamental categories in this music, in terms of concept and of the composition technique. I explore the music in the processes described by means of these categories, as well as what comes afterwards. I look for what remains, lingers on and can still be per- ceived after the disappearance of the sound, as long as we use our abilities and sensitivity courageously to open up to that presence. In riss this con- cerns all the types of layers in sound/time/action, as well as the typologies which organise the music, and the formal concept of the works. We expe- rience the powerful revelation of the most frail and intimate interspaces and cracks. The categories of vanishing and fading refer to the double loss of the Nazarene Christ: on Golgotha and in Emaus (Luke 24:30–31), which attains a transcendental and eschatological dimension. Krzysztof Kwiatkowski

/ NEW MUSIC ORCHESTRA (ORKIESTRA MUZYKI NOWEJ, OMN) Poland’s oldest contemporary music ensemble, founded in 1996, it first worked under the baton of its founder, Aleksander Lasoń. Saturday / 19 September / 19:30 performers Since 2006, under its current artistic director Szymon Bywalec it has gradually transformed from a group of students enthusiastic about contemporary music into a professional ensemble which can perform even the most complex scores. OMN is constantly developing its abilities, preparing perfor- mances under the guidance of outstanding Polish and foreign composers such as Helmut Lachenmann, , , Per Nørgård, Bent Sørensen, and others. OMN also in- vites excellent soloists (Jakob Kullberg, Ashot Sarkissjan, , Michelle Marelli, Rafał Zambrzycki, and Agata Zubel) as well as conductors specialising in new music (Daniel Kawka, François-Xavier Roth, Jean Deroyer, Christopher Austin, Steven Loy, Ivan Buffa, and Wojciech Michniewski). OMN has performed with the musicians of Court Circuit, Ensem- ble Orchestral Contemporain, Melos Ethos Ensemble, Quasars Ensemble, Musikfabrik, as well as sound producers from IRCAM, Experimentalstudio des SWR, and Tempo Reale. The Orchestra has given nearly 200 world premieres and numerous first Pol- ish performances of the most outstanding contemporary works, including Pierre Boulez’s Répons and Dérive 2, Helmut Lachen- 76 \ mann’s Mouvement, Fausto Romitelli’s Index of Metals, ’s Still, ’s Skin, Per Nørgård’s Momen- tum, Kaija Saariaho’s Notes on Light, ’s Erinnere dich an Golgatha, Louis Andriessen’s La Girò, ’s Win- terfragments and Le Lac, ’s La Chute d’Icare, Simon Steen-Andersen’s Black Box Music, and many others. The Orchestra regularly performs at major festivals such as War- saw Autumn, Musica Polonica Nova, International Festival of Cracow Composers, Festival of Premieres “Polish Modern Mu- sic,” Nostalgia Festival, Warsaw Music Encounters, Culture Na- ture in Katowice, Beijing Modern, Melos–Étos, Klang Festival, Bridges Festival, New Music Marathon, Velvet Curtain, Anima Mundi, Hindsgavl Festival, as well as in many leading centres of music life such as , Paris, Mons, Freiburg, and . OMN has released several dozen concert and studio albums, including under such labels as Anaklasis, Aurora, Decca, Dux, CD Accord, PWM Edition, and Polish Composers’ Union (ZKP-POLMIC). Many of them have been critically acclaimed in Italy, France, Denmark, and Great Britain, the United States, winning awards such as P2-Prize 2012 of the Danish Radio, Piz- zicato Supersonic Award in Luxembourg, as well as ICMA and Fryderyk nominations. OMN’s recordings for Polish radio won recommendations at the International Rostrums of Composers in Paris and Amsterdam. In 2018 the Orchestra featured on five albums in PWM Edition’s 36 CD collection 100 for 100 – Musical Decades of Freedom, which won a Fryderyk Award in the follow- ing year. For many years OMN has taken part in Polish and internation- al projects in the fields of art and education, collaborating with

Europe’s leading new music ensembles and institutions that pro- Saturday / 19 September / 19:30 performers mote contemporary music (as part of the projects Re:New Music and New:Aud). The Orchestra also initiates and organises inter- disciplinary projects presented outside the typical concert hall environment, making use of multimedia and state-of-the-art technologies. Since 2014 OMN has held its own concert cycle at the NOSPR Chamber Hall in Katowice.

Szymon Bywalec He graduated with honours in orchestra and opera conducting from the class of Jan Wincenty Hawel at the Academy of Music in Katowice. In 2006–13, he was artistic director of the Karol Szy- manowski Academic Symphony Orchestra in Katowice, where he worked with renowned conductors such as Gabriel Chmura, Takuo Yuasa, Arturo Tamayo, Jacek Kaspszyk, Krzysztof Pen- derecki, and Paul McCreesh. He is also a graduate of the Acad- emy of Music in Cracow, where he studied the oboe with Jerzy Kotyczka. He perfected his technique in the masterclasses of Gianluigi Gelmetti (2001) and Lothar Zagrosek (2002) on a scholarship to Siena’s Accademia Musicale Chigiana. He also participated in / 77 conducting masterclasses taught notably by Gabriel Chmura, Kurt Masur, Zoltán Peskó, and Pierre Boulez. He won the 1st prize at the 2nd National Review of Young Conductors in Białystok (1998) and two special prizes in the Interna- tional Competition for Conductors in Katowice (1999). He has held several scholarships from the Polish Ministry of Culture. In 2014 he received the Honorary Award of the Polish Composers’ Union for his contributions to the promotion of Polish contem- porary music. Bywalec is the artistic director and permanent conductor of the OMN New Music Orchestra, which he has directed at various contemporary music festivals including the Warsaw Autumn, Wrocław’s Musica Polonica Nova and Musica Elec- tronica Nova, Bratislava’s Melos–Ethos, Lviv’s Velvet Curtain 2, Paweł Szymański Festival in Warsaw, Beijing Modern, Vienna’s Bridges, Hindsgavl Festival in Denmark, and Klang Copenhagen Avant-Garde Music Festival. He also regularly conducts the Pol- ish National Radio Symphony Orchestra (NOSPR) in Katowice. He has led more than a hundred world and Polish premieres, recorded extensively for Polish Radio (with OMN), and conduct- ed OMN on its first album, nominated for the 2003 Fryderyk Award of the Polish Phonographic Academy. For his CD dedi- cated to the music of Weronika Ratusińska (with OMN, under the DUX label), he received the Supersonic Award in 2009. His recording of Paweł Szymański’s Three Songs to Words by Trakl received a recommendation at the International Ros- trum of Composers in Paris (2007), while Magdalena Długosz’s Gemisatos (with Sinfonia Varsovia) and Ewa Trębacz’s things lost things invisible performed under his baton received the same ac-

Saturday / 19 September / 19:30 performers colades in 2009. In 2013 his CD of cello by Scandina- vian composers (Nørgård, Nordheim, and Saariaho, with cellist Jakob Kullberg) won the Danish Radio’s Lyt til Nyt Pris for 2012. The year 2016 saw the release of Decca’s CD recorded with OMN and clarinettist Michelle Marelli. In 2013–16 Szymon Bywalec was the artistic director of the Musi- ca Polonica Nova festival. He has conducted many philharmonic, radio, and chamber orchestras in Poland and abroad.

78 \

Saturday / 19 September / 22:30 Pardon, To Tu

/ Warsaw Autumn Hits the Club

Ida Lundén voice, electronics

Hubert Zemler percussion, electronics 80 \

Krzysztof Ptak sound projection

Partner of the event: Pardon, To Tu Saturday / 19 September / 22:30

Ida Lundén Han (2003)* for voice and tape

/ 81 Hubert Zemler Prądy telluryczne (Telluric Currents) (2020)** for percussion and electronics

** first performance * first Polish performance Ida Lundén Composer and performer active mainly in the fields of chamber, electronic and improvised music. In the last few years she has at- tracted attention with her highly imaginative works and frequent-

Saturday / 19 September / 22:30 composers ly unusual combinations of instruments such as old answering machines with percussion, or bass singers with double basses. Her concerts and performances have formed the core of projects such as Vev, Ghosting, and Orgel. Her work Songs My Mothers Taught Me was nominated for the Nordic Council Music Prize 2016. In 2011–13 she was composer-in-residence at the Swedish Radio P2. Her music has been performed at festivals such as Musica Nova in , Klang in Copenhagen, Piano+ in Karlsruhe, Tokyo Jazz Festival, and Nordic Music Days. She regularly cooperates with musicians, choreographers, and artists in other disciplines.

Selected works: DadoDado for guitar (2003), Han for voice and tape (2003), Susa Donker Low for eight basses and four double basses (2013), Verktum for piano and electronics (2014), Songs My Mothers Taught Me for cello and electronics (2013), Orgel for nine hanging organs, installation (with Johanna Mårtensson, 2016), Tyskamossarnas Sugluft for flute and ensemble (2017), Ba-ro-me-ter for piano and electronics (2018), BVMJ for cham- ber orchestra and improvising orchestra (2019), Vev for six large 82 \ noise machines (with Johanna Mårtensson, 2019). Han Written in 2003, when I inherited a pile of EP records from my grandparents, all by the same religious song performer, Artur Eriksson. While listening to them I realised that he was invaria- bly singing the praises of another man, Jesus. I decided to single out all the sections where he sang the words “He” and “Him,” and make a piece of music out of that material. For the Warsaw con- cert I have added two other pieces to go with the original Han. One is an excerpt from a work titled BVMJ (my grandmother’s initials). This fragment is called Han sjunger (He Sings) and is based on a song that both my grandma and Artur Eriksson used to sing. The other accompanying piece is also based on material taken from Artur Eriksson, more sound-like, but still focusing on one word only: Stjärneljus (Starlight). Ida Lundén

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Hubert Zemler Born in 1980 in Warsaw, he is a percussionist, composer and improviser freely moving between different musical styles and categories; a highly regarded performer of new music; jazz drum- mer; author of crossover solo albums combining avant-garde, electronics and ethnic music, as well as soundtracks for films and cartoons. He has collaborated with artists such as , Todd Barton, Jon Gibson, Evan Ziporyn, Gyan Riley, John Til- bury, Agustí Fernandez, Wacław Zimpel (LAM trio), Piotr Kurek (Piętnastka), Kamil Szuszkiewicz (Zebry a Mit, Istina, Zvanai),

Piotr Bukowski (Opla), Hashtag contemporary music ensemble, Saturday / 19 September / 22:30 composers and Mitch&Mitch band.

Selected works: The Ballad of B 20, impression on the theme of Włodzimierz Kotoński’s Étude concrète (Study on One Cym- bal Stroke) (2019), Telluric Currents for percussion (2020); music for cartoon films from theLost Museum series: Tapestries (2017), A Royal Dream (2018); film music. Discography: Moped (2011), Gostak & Doshes (2014), Pupation of Dissonance (2016), Melatony (2017), Groove 8 (2018), Kreatura (with Szabolsc Esztényi, 2018), Zemiter (with Marcin Dymiter, 2019), Obertasy (with Piotr Bukowski, 2019).

Prądy telluryczne (Telluric Currents) The music consists of and coloristic layers produced exclusively on membranophones. Suitably tuned drums, with a little support from electronic sound modulation devices, gen- erate sound structures which go far beyond the musical qualities hitherto attributed to percussion instruments. Hubert Zemler / 83

Sunday / 20 September / 11:00 and 16:00 / 12:00 / 15:00 / 19:30 Sunday / 20 September / 11:00 and 16:00 Museum of Warsaw

/ Little Warsaw Autumn

Sirens Room: Katarzyna Smoluk-Moczydłowska, Agata Harz siren songs Paweł Romańczuk dan bau, theremin, shruti box, whirlies, ashbory bass, slide flute

Patriotic Items Room: Igor Gawlikowski, Jędrzej Kuziela hanging percussion instruments

Portrait Room: Marek Ołdakowski, Maciej Rodakowski stone and clay 86 \ instruments (percussion and winds), stone-sounding mechanisms Clocks Room: Robert Niziński clock-sounding percussion instruments (bowls, dome bells, metronomes)

Marcin Ożóg recordings

Jakub Niedźwiedź sound projection

Partners of the project: Museum of Warsaw, Society of Authors ZAiKS Sunday / 20 September / 11:00 and 16:00

Paweł Romańczuk Eksponuty (Exhibitones) (2020)** concert/installation (Warsaw Autumn commission with the support by / 87 Society of Authors ZAiKS)

** first performance Paweł Romańczuk Sunday / 20 September / 11:00 and 16:00 composers Born in 1975, musician and composer. Since 2006, he has embarked on a quest for atypical sound sources. Founder of the Wrocław-based groups Small Instruments, within which he develops his own artistic ideas. He has authored music for over 20 films and theatre shows, publishing his work on 14 LPs, SPs, CDs, and DVDs in Poland, Japan, and France, playing over 300 concerts throughout Europe and Asia. To date, he has gathered a unique collection of over 600 atypical musical instruments, which he uses for his concerts, recordings, and publications. He has cooperated notably with Rafał Augustyn, Chris Baldwin, Pierre Bastien, Sebastian Buczek, Joanna Bronisławska, Paweł Czepułkowski, Cezary Duchnowski, Paweł Hendrich, Sławo­ mir Kupczak, Piotr Kurek, Margaret Leng Tan, Svitlana Nianio, Robert Niziński, Paul Preuser, Mateusz Rybicki, Jacek Sotomski, Ghedalia Tazartes, Mariusz Wilczyński, Andrzej Załęski, Evan Ziporyn, and Jean-Marc Zelwer. He also works with ensem- bles such as Cinema Teather, Transfuzja (Bauer, Duchnowski, Orzechowski), Księżyc, In-Between (Cezary Duchnowski and Kos­tas Georgakopulos), and Za Siódmą Górą. He has appeared at many of the leading music and film festivals throughout Poland (including Warsaw Autumn, Musica Polo­nica Nova, Festival of Tradition and Avant-Garde “Codas”, World Mu- sic Days, Industriada, Animator, New Horizons) as well as inter- 88 \ national events including the Huddersfield Contemporary Music Festival, Davos Festival, and SchulzFest Brno. He coauthored the programme of Wrocław’s European Culture Capital in 2016. He builds his own instruments, sounding structures, and sound installations. As a researcher, he pursues instruments lore, their history and structure. In 2010, he authored the first history of the toy piano; in 2013, he wrote the manual Home Experimenta- tion with Musical Instruments, published jointly with the Small Instruments ensemble album Samoróbka, dedicated to education in DYI experimentation with musical instruments. With a work- shop of 20 participants, he has prepared a collection of works for the Gruppo di costruzione record, his second project with the PozyTywka Foundation. He runs workshops, presentations, lectures, and authors exhibi- tions dedicated to musical instruments and sound experimen- tation. He has performed over 100 workshops in Poland and abroad, including at the Massachusetts Institute of Technology in Boston. He is also active as an educator with disabled people. In 2017, he was awarded the Mayor of of Wrocław’s Medal for his contribution to local culture. He has received scholarships from the Polish Ministry of Culture and National Heritage and the Mayor of Wrocław.

Discography: Antonisz (2009), Small Instruments Play Cho- pin (2010), My 8 Words (2011), Chemistry and Physics (2011), Music Box (2012), Samoróbka (2013), Kartacz (2013), Faces of non-existent town (2014), Walce w Walce (2015), Awakening (2016), Carp’s Head (with Ghedalia Tazartes and Andrzej Załęski, Sunday / 20 September / 11:00 and 16:00 composers 2016), Gruppo di costruzione (2017), Tango (2018), Art Impossible (2019).

Eksponuty (Exhibitones) —or exhibits? What can really be found in a museum? Can an ex- hibition of exhibits be a starting point for creating, playing, and listening to music? I think about how collections are gathered: objects united in a single place but devoid of their original func- tion. If the numerous objects, gathered for years in the Small In- struments workshop, were treated as a collection, we would hearing them, just as no-one pops into the Cabinet of Clocks to check the time. By transferring a selected group of instruments for a moment from Small Instruments’ Wrocław workshop to the Museum of Warsaw, we shall match the character of the mu- sic and type of sound source with the content of the latter’s ex- hibition. Surely, this will not lend a new activity to the “Things of Warsaw,” but might enable us to see (hear?) them from a new perspective, add a new dimension, and subject museum exhibits to a perception test. Paweł Romańczuk

/ 89 Sunday / 20 September / 12:00 Austrian Cultural Forum

90 \

Partners of the event: Goethe-Institut, Austrian Cultural Forum Sunday / 20 September / 12:00

Meet the composer:

Mark Andre / 91 Moderator: Krzysztof Kwiatkowski

The meeting will be elh d in Polish and English. Sunday / 20 September / 15:00 Austrian Cultural Forum

92 \

Workshop coorganised by Polish Composers’ Union – Youth Circle

Partners of the event: Goethe-Institut, Austrian Cultural Forum Sunday / 20 September / 15:00

Composition workshop:

Lecturer: Mark Andre / 93 Coordinator: Aleksandra Bilińska

Active participation restricted to preselected composers; free entry for the audience (limited number of seats)

The workshop will be held in English. Sunday / 20 September / 19:30 ATM Studio

KWADROFONIK: Emilia Sitarz piano Bartłomiej Wąsik piano Magdalena Kordylasińska-Pękala percussion Piotr Maślanka percussion 94 \

Kamil Kęska sound projection

The work Słowik i kamień (The Nightingale and the Stone) by Grażyna Pstrokońska-Nawratil has been cofinanced by the Minister of Culture and National Heritage’s Culture Promotion Fund within the Composing Commissions programme, implemented by the Institute of Music and Dance. Peter Ablinger Voices and Piano no. 3: Lech Wałęsa (2002) for piano and CD (Performer: Bartłomiej Wąsik)

Sam Pluta Seven Systems (2015)* Sunday / 20 September / 19:30 for two pianos, two percussion and electronics

Peter Ablinger Voices and Piano no. 5: Hanna Schygulla (2003) for piano and CD (Performer: Bartłomiej Wąsik)

Kuba Krzewiński Contre no. 2 (2019) for piano and gran cassa (Performers: Lutosławski Piano Duo) / 95 Peter Ablinger Voices and Piano no. 17: Ezra Pound (2003) for piano and CD (Performer: Emilia Sitarz)

Grażyna Pstrokońska-Nawratil Słowik i kamień (The Nightingale and the Stone) (2020)** for two pianos and two percussion from the cycle Reportages (Warsaw Autumn commission)

Peter Ablinger Voices and Piano no. 19: Pier Paolo Pasolini (2003) for piano and CD (Performer: Emilia Sitarz)

** first performance * first Polish performance Peter Ablinger Born in Schwanenstadt, Austria, in 1959, he first studied graphic arts and became enthused by free jazz. He completed his stud- ies in composition with Gösta Neuwirth and Roman Hauben- stock-Ramati in and Vienna. Since 1982 he has lived in Sunday / 20 September / 19:30 composers Berlin, where he has initiated and conducted numerous festi- vals and concerts. In 1988 he founded Ensemble Zwischentöne. In 1993 he was a visiting professor at the University of Music and Performing Arts in Graz. He has been guest conductor of Klangforum Wien, United Berlin, and Insel Musik Ensemble. In 2013–17 he held the post of research professor at the Universi- ty of Huddersfield. His works have been performed at the Ber- liner Festwochen, Wiener Festwochen, festivals in Darmstadt, Donaueschingen, Istanbul, Los Angeles, Oslo, Buenos Aires, Hong Kong, London, and New York. His installations have been presented at the Offenes Kulturhaus Linz, Diözesanmuseum Köln, Kunsthalle Wien, Neue Galerie der Stadt Graz, Kunsthaus Graz, Akademie der Künste Berlin, Haus am Waldsee Berlin, and the Santa Monica Museum of the Arts, among others. Peter Ablinger is one of the few artists today who use noise with- out any kind of symbolism – not as a signifier for chaos, energy, entropy, disorder, or uproar; not for opposing something, or be- ing disobedient or destructive, but for itself. Peter Ablinger has also come a long way in questioning the nature of sound, time, 96 \ and space (the components usually thought central to music). His findings have jeopardised and made dubious conventions usually thought irrefutable. These insights pertain to repetition and monotony, reduction and redundancy, density and entropy. “Sounds are not sounds! They are here to distract the intellect and to soothe the senses. Not once is hearing ‘hearing’: hearing is that which creates me.” Peter Ablinger is, as Christian Scheib once put it, a “mystic of enlightenment” whose “calls and litanies are aimed at cognition.” At the same time, the composer is also a skeptic who understands the cultural rules and (destructive) habits en- forced by tradition: “So let us play further and say: sounds are here to hear (but not to be heard. That’s something else). And that hearing is here to be ceased (‘Das Hören ist da um aufzuhören’). More I can’t say.” Christian Baier, trans. Bill Dietz

Selected works: Cycles: Weiss/Weisslich for various media: instruments, instal- lations, objects, electroacoustic media, prose, soundless music (1980–99), Stücke 1989–94, pieces for 1 to 25 instrumentalists and seven voices (1989–94), Sehen und Hören, photographs, pro- jections (since 1995), IEAQV for instruments and electroacoustic media; pieces related to specific locations (since 1994), Instru- mente und Rauschen for instruments and noises from a CD (since 1994), Quadraturen for electroacoustic media, ensembles and orchestras (since 1994), Das Buch der Gesänge, acoustic photographs (since 1997), Voices and Piano for piano and CD (since 1998), Klänge auf Papier, objects laid out on paper (since 1999), Opera/Werke, operas, installations, concerts and other ar- tistic forms (since 2000), Orte, installations (since 2001), Instru- mente & for instruments and other sources of sound (since 2006), Augmented Studies (since 1983). Sunday / 20 September / 19:30 composers Other works: 10 kleine Stücke for six voices (1995, 2002), Über- setzungen 1–8 for rubber and cardboard (1997), Grundierungen 1–6 for organ (1997), Hotel Deutsches Haus for bass flute, English horn, clarinet and CD (2000–1), 1–127 for electric guitar and CD (2002), Altar for speakers, microphones, headphones, electronics, cello and orchestra (2002–3), Akt/Rückenansicht for actors and CD (2003), 3 Easy Pieces, installation (2003–4), 6 Linien for pi- ano (2004), From Inside Out for window display, microphone and speaker (2004–6), Ohne Titel 1–10 for any instruments (2005), 11 Intermezzi aus Opera/Werke, “Das Orchester” for orchestra and CD (2005), Kleine ‘Publikum’ Suite for ensemble, comput- er-operated keyboards and CD (2005), ‘Tanz’ aus Das Publikum/ Stadtoper Graz for two pianos, nine instruments and CD (2005), Gehörgang, a “walk in the labyrinth” (2007), Fallstudie, cinema for one person (2004–8), Weisse Wäsche for underwear and towels (2003–8), Amtsee bei Regen for 3–8 voices or instruments (2008), A + O for harp and CD (2005–9), Selbstportrait mit Mitersill – eine Skizze in 3 Sätzen for children, teenagers, performer, CD and objects (2009), Canon for six cellos or cello and five delays / 97 (2017), 1111 Vögel, radio sound sculpture (2017–18), Outside & for instruments and microphones (2015–18), Not Available for clarinet and tape (2016–18), Canon 22.12.2018 for nine iden- tical instruments (2018), 4 Weiss for large string orchestra and white noise (2018–19), Vokalschleuse for five pairs of speakers (2018–19), Public Litanies, procession for choir leader and audi- ence (2018–19), Doo-Doo-Dooh for voice, five instruments, re- corded sounds and objects (2019), Etablissement Gschwandtner for children’s orchestra and three loudhailers (2019), ‘A.W.-Me- morial’ for clarinet and radio (2019), Ohne Titel for violin, bass clarinet and piano (2019), Es summt der See for the sounds of Lake Summt, three orchestral groups and three loudhailer op- erators (2019), Decisions 3 / I Love Freedom for Roman Hauben- stock-Ramati, sound file to be played back over the loudhailer (2019), Concerto for bassoon, ensemble and two musicologists (2016–20), Corona Suite, Pieces to Entertain Myself (2020), Corona Blog (2020), Verdopplung 4.01/4.02/4.03, field recording (2020).

Voices and Piano: no. 3 Lech Wałęsa, no. 5 Hanna Schygul- la, no. 17 Ezra Pound, no. 19 Pier Paolo Pasolini Information is redundancy: Tautology – according to Wittgen- stein – tells nothing about the world and does not hold any rela- tion to the world. I hold the opinion, however, that tautology is the basic principle of language, or the basic principle of the rela- tion between language and world. Every description, explanation, analysis, definition is doubling, repetition, redundancy in exactly the same way tautology is all that. Something similar holds true for information: information is not what stands out of redundan- cy. Rather, information is not even possible without redundancy. The concept of redundancy is related to the concept of a “frame”: Sunday / 20 September / 19:30 composers repeating something means grasping it more intensely, fixing it, cutting it, framing it. This, too, holds true for “meaning”: mean- ing and doubling or emphasising are almost synonymous, in any case. Voices and Piano, originally written for Nicolas Hodges, is an ex- tensive cycle of pieces, each for a single recorded voice, mostly of a well-known celebrity, and piano. The cycle is still in progress and should eventually include about 80 pieces / voices (around four hours of music). The work is always meant to occur as a se- lection from the whole. At present I like to write works where the whole should not be presented at once. I like to think about Voices and Piano as my song-cycle, though nobody is singing in it: the voices are all spoken statements from speeches, interviews or readings. And the piano is not really accompanying the voices: the relation between the two is rather one of a competition or comparison. Speech and music get compared. We can also say: reality and perception. Reality / speech is continuous; perception / music is a grid which tries to approach the former. Actually, the piano part is the temporal and spectral scan of the respec- 98 \ tive voice, something like a coarse gridded photograph. Actually, the piano part is the analysis of the voice. Music analyses reality. Peter Ablinger

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Sam Pluta A composer and electronics performer whose work explores the intersections between instrumental forces, reactive comput- erised sound worlds, traditionally notated scores, improvisation, audiovisuals, psychoacoustic phenomena, and installation-like soundscapes. Since 2009, he has served as technical director and composing member of Wet Ink Ensemble. Laptop improvisation is a core part of Pluta’s artistic practice. Per- forming on his custom software instrument, he has toured inter- nationally with Rocket Science, the Evan Parker Electro-Acoustic Ensemble, and the Peter Evans Ensemble. He appears as a com- poser and performer on over thirty albums of new music and jazz, many of which are released on his label, Carrier Records. He is currently Assistant Professor of Music at the University of Chicago, where he teaches composition and directs the CHIME Studio.

Selected works: Favorite Things or Titre français avec un petit Mondrian for 4–15 laptop performers with live video (2003), noise + mobile for piano and two-channel playback (2005), Mix-Deep Breaths-Remix for saxophone quartet (2005), Amer- ican Tokyo Daydream III (The Surprise) for piano, string quar- tet, and live electronics (2006), 7:6 for distorted/amplified cello (2006), ATD IV for saxophone, electric guitar and accordion (or piano and percussion) (2007), American Tokyo Daydream I (Ca- lypso Sunrise) for solo laptop performer with live video (2007), Sunday / 20 September / 19:30 composers SWITCHES for distorted/amplified cello and drumset (2007), data structures/monoliths ii (for Chion) for laptop performer with live video sampler (2008), Signal Flow for percussion quartet and live electronics (2009), Standing Waves for flute, clarinet, tenor saxophone, guitar, accordion, percussion and live electronics (2009), Matrices for percussion trio, live electronics and two tel- evisions (2009), Memory by Design, music for a video work by Nathan Punwar (with Peter Evans; 2010), Lyra for string quartet (2007–10), American Tokyo Daydream V for saxophone and elec- tronics soloists, flute, violin, piano and percussion (2010), Tile Mosaic (after Chagall) for , two percussion and resonators (2010), Palimpsest I–II for piano / keyboard, open in- strumentation and live electronics (2010), Portraits/Self Portraits for large ensemble (2011), us = Dictionary[\me->\you, \you->\ me]; love = us[\me];while(love!=nil,{love=us[love]}); //endless love for flute and voice (2012), Timber Remix, remix of part 1 of Michael Gordon’s Timber (2012), Machine Language for percus- sionist, two percussion, two bass clarinets, two violins, accordion and electronics (2012), Broken Symmetries for violin soloist, soft- / 99 ware-controlled feedback, flute, saxophone, piano and percussion (2012), Sixty Cycles for sopranino saxophone, television feedback, live video, violin and cello (2013), Chain Reactions/Five Events for string quartet and live electronics (2013), Four Sixes for percus- sion sextet (2014), Escape Strategies for violin, flute, clarinet, per- cussion and electronics (2014), Points Against Fields for bassoon and fixed media (2014),MODULES for two , horn, tuba, percussion and live electronics (with Jeff Snyder, 2014), hydra for violin, piano, fixed media and live electronics (2015), Seven Sys- tems for two pianos, two percussion and electronics (2015), de- lay/line for flute and electronics (2016), binary/momentary: flow state/joy state for string quartet (2016), binary/momentary ii: flow state/joy state for trumpet, two , percussion and piano (2017), Matrix for George Lewis for two silent trombones with live analysis and synthesis (2017), Lines on Black for voice, flute, saxophone, violin, piano, percussion and electronics (2018), for Delia Derbyshire for bass, guitar and electronic playback (2018), binary/momentary iii for cello and playback (2018), Actuate/Res- onate for large ensemble (2018), New Work for saxophone, violin, cello, piano, percussion and quadraphonic playback (2019), bina- ry/momentary iv for saxophone quartet and electronics (2020).

Seven Systems is a sequence of seven interlocking movements that unfold over a twenty-minute span. Autobiographical in nature, the work reflects life events that occurred over the relatively long period that it took me to write this piece: a difficult emotional period, my marriage to my amazing wife, teaching incredible students at the Walden School in rural New Hampshire, the death of a par- ticularly joyful former student, jogging along the Spree in Ber- Sunday / 20 September / 19:30 composers lin. This piece was made possible by a grant from the Fromm Foundation. Sam Pluta

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Kuba Krzewiński He studied composition with Zygmunt Krauze at the Acad- emy of Music in Łódź, Mark Andre, and Manos Tzangaris at the High School of Music in Dresden, as well as Yannis Kyria­ kides at the Royal Conservatoire in The Hague, and at numerous masterclasses. His works focus on the phenomenon of touch as a source of sound and a channel of sound perception, as an axis along which the performer-instrument relation is formed, and as a medium of social communication. By applying performative means, mul- timedia, and tactile references, Krzewiński proposes to his audi- ence new ways of contact with music and with corporeality. In 2018 the web portal Culture.pl hailed him as one of the ten 100 \ most promising composers of the young generation in Poland. His works have been performed and commissioned by ensembles such as Musikfabrik, Garage, Kompopolex, NEMØ, Ensemble Royaal, the Kwiatkowska/Pałosz duo, and others. His composi- tions and installations have been presented at festivals in Poland, Belgium, the , Germany, , and China. Krzewiński is the winner of the Government of Saxony’s award Förderpreis für Junge Komponisten 2019. He has been art- ist-in-residence at the Binaural Nodar SOCCOS Residency in Vouzela, Portugal (2016), LABO in Antwerp (2017), and PointX with NEMØ Ensemble in Ghent (2018). In 2019 Bôłt Records released the DVD Incorporate, featuring his chamber music. With audiovisual artist Aleksandra Chciuk he has created, among others, the concert/installation Black of Granule for two perform- ers, piano and one listener, presented during Musica Privata in Łódź (2016) and the Instalakcje festival in Warsaw (2018), as well as the audio performance Weave-Machine commissioned for the opening of the International Tapestry Triennial at the Central Museum of Textiles in Łódź. He has created a series of objects known as Ameublement de Mu- sique, presented so far as an installation and in concert in Poland, Belgium, the Netherlands, and Germany.

Selected works: Glass Wood Plastic for violin and marimba (2015), I | 0 for six singers, viola and cello (2015), Mille-feuille for dancer and electronics (2015), Contre no. 1 for violin and cello (2016), Black of Granule, installation/concert (with Aleksandra Chciuk, 2016), Edging for flute, clarinet, trombone, percussion, violin, cello, double bass and seven dancers (2016), Another Air for flute, accordion, percussion, electronics and 20 fans (2017), Inside for Musikfabrik with Harry Partch’s instruments and ameu- blement de musique sound objects (2018), Entre for bass clarinet, Sunday / 20 September / 19:30 composers percussion, e-piano, violin, double bass and media (2018), Incor- porate for violin, electronics and video (with Aleksandra Chciuk, 2018), Ep for double bass and deaf poet (2018), Weave-Machine, audio performance (with Aleksandra Chciuk, 2019), AdM Room, installation-like piece for two marimbas and ameublement de mu- sique sound objects (2019), Contre no. 2 for two performers and electronics (2019).

Contre no. 2 Contre: French for against, opposite, versus. On contras and contrasts, points of contact and counterpoints, positions and oppositions.

This is the second piece in the cycle of my instrumental duos, which emphasise the performative aspect of music. It is a contin- uation of my interest in the physicality of sound and the presence of the body in music. By applying instruments and electronics (including piezo microphones placed on the performers’ bodies, as well as transducers on the instruments) in an unconventional / 101 fashion, I explore anew the intimate relation between instrument and performer. Kuba Krzewiński

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Grażyna Pstrokońska–Nawratil Wrocław-based artist, she studied composition first with Stefan B. Poradowski, and later with Tadeusz Natanson at the State High School of Music in Wrocław (degree in 1971), where she later became a lecturer. In 1978 as a French government scholarship holder she attended lectures by Olivier Messiaen (Conservatoire de Paris) and Pierre Boulez (IRCAM, Paris), as well as ’s composer seminar in Aix-en-Provence. She was also a trainee at the Experimental Music Studio in Marseilles. She obtained the academic title of professor in 1993. Since 1977 she has taught a composition class in Wrocław, and in 1998–2009 she also educated young composers at the Music Academy in Poznań. Many of her former students have become important figures in the Polish contemporary music scene. In 1991–2017 she was head of the Chair of Composition and Music Theory (now the Chair of Composition) at Wrocław’s Music Academy. She served on the Programme Board of the Warsaw Autumn Festival (for four terms). In 1996–2008 she held the functions of, successively, programme consultant, manager, and artistic director of the Musica Polonica Nova Festival of Polish Contem- porary Music. She has won prizes in competitions for compos- ers, such as the National Grzegorz Fitelberg Competition (1971), GEDOK in Mannheim (1975), and the International Rostrum of Composers in Paris (1987). Her accolades include the Prime Sunday / 20 September / 19:30 composers Minister’s Award for works for children and teenagers, City of Wrocław Award, Medal of Saint Brother Albert (1998), Wrocław Music Prize (2002), and Polish Composers’ Union Award (2004). In 2006 and 2018 she received the Award of the Minister of Cul- ture and National Heritage for music, in 2013 – the Gloria Artis Silver Medal for Merit to Culture, and in 2017 – the Medal for Merit to the City of Wrocław. Her oeuvre comprises several dozen compositions, mostly con- ceived as cycles: Frescos, Thinking of Vivaldi, Madrigals, Report- ages, and Ecomusic.

Selected works (since 1995): Cycle Ecomusic – Terra for male choir and piano (1995), Cycle Ecomusic – Bartokiana (1st version) for two cellos and piano (1995), …el Condor… Thinking of Vival- di – Spring, concerto for two marimbas and chamber orchestra (1996), VII – Uru Anna for tenor, large mixed choir and large symphony orchestra (1998–99), Madrigal I – In Search of Fleeing Echoes for two violins (2000), Bartokiana (2nd version) for marimba and chamber orchestra, Madrigal II – An Algorithm 102 \ of a Big City’s Sleep for marimba (2001), Lydian Music for string orchestra (2002), Magnificat MM for soprano, mixed choir and large symphony orchestra (2005), Madrigal III – Birds on the Ho- rizon of Dusk for clarinet, trombone, cello and piano (2006), …como el sol e la mar… from the cycle Thinking of Vivaldi – Sum- mer for flute and chamber orchestra (2007), Reportage I – Palm Sunday in Nazareth for saxophone, percussion and organ (2009), Reportage III – ICE-LAND. Rainbow Bridges over Dettifoss for chamber orchestra and amplified harp (2011), Madrigal for two pianos (2011), for symphony orchestra (2011), Cycle Ecomusic – Rain Forest for flutes and symphony orchestra (2013), Reportage II – Figures on the Sand / Journeys of the Age- -Old Scarab for flute, violin, viola and cello (2014; version for flute quintet, 2019), Bartokiana (3rd version) for flute, saxophone and piano (2015), Cycle Ecomusic – Galakticos α for flute and organ (2015), Galakticos β, triptych for two flutes and organ (2017), Cy- cle Ecomusic – Assisi for cello, children’s choir and large symphony orchestra (2017), Reportage IV – Ring of Tara / Time Machine for percussion octet (2018), In the of the Sun for flute, bells, , marimba, harp and cello (2018), Reportage V – Ao- -Tea-Roa (The Land of Long White Clouds) for harpsichord and string orchestra (2018–19), Reportage VI – Landmannalaugar Sonata for two flutes and harpsichord (2019), The Nightingale and the Stone from the cycle Reportages for two pianos and two percussion (2020). Słowik i kamień (The Nightingale and the Stone) My original cycle Reportages (since 2009) is an attempt to con- vey the audiospheres of the landscapes I see, but also to capture the beauty and unique character of various parts of the world in music. The following parts of this cycle have been presented so far: Palm Sunday in Nazareth (about the Holy Land), Figures on Sunday / 20 September / 19:30 composers the Sand / Journeys of the Age-Old Scarab (Egypt), ICE-LAND. Rainbow Bridges over Dettifoss (Iceland), Ring of Tara / Time Machine (Ireland), Ao-Tea-Roa / The Land of Long White Clouds (New Zealand), and the Landmannalaugar Sonata (Iceland). The Nightingale and the Stone is my reportage from Japan, whose leitmotif is a haiku made up of several notes and assuming dif- ferent forms during my journey across the palette of images and phenomena, such as Japanese rock gardens, nightingale floors, the green tea gardens, the Suicide Forest of Aokigahara, cedar groves, painted cemeteries, the cinnabar-coloured temple gates, and the monumental golden statue of the Buddha. The peace of Zen flows from the mystical whiteness of Mount Fuji. I dedicate this composition to Kwadrofonik Ensemble. Duration: c. 21 minutes. Grażyna Pstrokońska-Nawratil

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/ 103 KWADROFONIK One of the most original ensembles playing both contemporary and traditional music; winner of the Passport Award of the Poli­ tyka weekly for virtuosity, imagination, sensitivity, and sense of humour, all of which make their performances and Sunday / 20 September / 19:30 performers of music from various parts of the world – classical, folk, and children’s songs – sound both sophisticated and engaging. In their compositions and interpretations, members of Kwadro- fonik enter into an extraordinary dialogue with one another, imperceptibly swapping their instruments’ functions, so that pi- anos become percussive instruments, and percussion takes over the functions of melodic instruments. The musicians are also well known for their spectacular demonstrations of uncommon types of sound produced on everyday objects. The ensemble’s numerous accolades include the Grand Prix of the New Tradition Polish Radio Folk Festival (2006), Special Award of the 3rd Svetozár Stračina Grand Prix Competition of the European Broadcasting Union (EBU) in Bratislava, Folk Al- bum of the Year (critics’ award for the best folk album for CD Folklove, 2009), gold disc for Lutosławski, Tuwim. Songs Not Only for Children, and Folk Album of the Year for Folk Requiem (2015). That last release was also nominated for the Coryphaeus of Polish Music Award as event of the year (2015). The ensemble’s compositions have been presented on BBC Ra- 104 \ dio 3’s Late Junction and in the most prestigious venues such as New York’s Carnegie Hall, Chicago Symphony Hall, Berlin Phil- harmonic, Izumi Hall in Osaka, as well as at contemporary music festivals worldwide. Monday / 21 September / 10:00 / 12:00 / 15:00 / 19:30 Monday / 21 September / 10:00 Austrian Cultural Forum

106 \

Partner of the event: Austrian Cultural Forum Monday / 21 September / 10:00

Meet the composer:

Peter Ablinger / 107 Moderator: Krzysztof Kwiatkowski

The meeting will be elh d in Polish and English. Monday / 21 September / 12:00 Austrian Cultural Forum

108 \

Partner of the event: Austrian Cultural Forum Monday / 21 September / 12:00

Meet the composer:

Grażyna Pstrokońska-Nawratil / 109 Moderator: Aleksandra Bilińska

The meeting will be elh d in Polish and English. Monday / 21 September / 15:00 Austrian Cultural Forum

110 \

Workshop coorganised by Polish Composers’ Union – Youth Circle

Partner of the event: Austrian Cultural Forum Monday / 21 September / 15:00

Composition workshop:

Lecturer: Grażyna Pstrokońska-Nawratil / 111 Coordinator: Aleksandra Bilińska

Active participation restricted to preselected composers; free entry for the audience (limited number of seats)

The workshop will be held in Polish. Monday / 21 September / 19:30 Witold Lutosławski Polish Radio Concert Studio

ENSEMBLE VORTEX: Anne Gillot bass clarinet, recorders HannaH Walter violin Benoît Morel viola Aurélien Ferrette cello Tomás Fernández double bass Mauricio Carrasco guitar 112 \ Daniel Zea electronics, video Arturo Corrales electronics, ensemble coordinator

Marek Straszak visual layer in the work of Rafał Zapała Szymon Kaliski interactive system in the work of Rafał Zapała

Partner of the concert: Society of Authors ZAiKS Monday / 21 September / 19:30

Daniel Zea Swallow! (2019)* for four performers, four computers with webcams running face-tracking algorithms, text generator, video and electronics

Arturo Corrales Tulpa (2018)* for bass clarinet and string quartet

Fernando Garnero Limae labor (2013)* for amplified string trio and electric guitar / 113

Francisco Huguet La flor más rara (2015–2016)* version for cello, bass clarinet, double bass and electronics

Rafał Zapała Daremność (Futility) (2020)** for five instruments, electronics and video (Warsaw Autumn commission with the support by Society of Authors ZAiKS)

** first performance * first Polish performance Daniel Zea Swiss-Colombian sound artist, designer and composer living in Geneva. Focusing on instrumental and electronic music as well as computer programming, he often cooperates with other ar- tistic disciplines such as performance, contemporary dance, and Monday / 21 September / 19:30 composers . He teaches at the Geneva University of Art and De- sign (HEAD) lecturing in sound, video and interactive program- ming. He has been invited to give workshops and masterclasses in institutions such as CNSM (Paris), HKB (Bern), Universidad de Lanus (Buenos Aires), USP (São Paulo), Unirio (Rio de Ja- neiro), Universidade Federale da Juiz da Fora, Monash and Mel- bourne Universities, among others. He is a founding member of the Vortex ensemble, where he participates as a composer and as electronic music interpreter.

Selected works: Recaída for percussion, flute, clarinet, violin and cello (2003), Decaída for two guitars and electronics (2003), Glifosato for guitar and electronics (2003), Purga for wind quin- tet (2003), Muro, audiovisual installation (2005), Cambuche for quadrophonic tape (2005), Latex for oboe, violin, double bass, guitar and percussion with amplification (2006), Te Masca for maracas and electronics (2007), Lentejuela for ensemble (2007), Bufete delirante for double bass and electronics (2008), Swim, audiovisual installation (2008), Las ciudades invisibiles I–II for vo- 114 \ cal quartet and cello (2008), Orejas de mosca, sound installation (2009), Brisures, performance (2009), Bleu remix, performance / video installation (2009), Spare changes for homeless memories (étude) for two dancers, CCTV and electronics (2010), Quand je pose ma tête sur ta cuisse (étude) for three dancers, orchestra of testicles, theremin and electronics (2010), El Dorado for violin, cello and double bass (2010), Elegant Spanking for clarinet, vio- lin, double bass and electronics (2010), Wasserfront, audiovisual installation (2010), Alexacrash, audiovisual installation (2011), The Boiling Point for dance, robotised pans orchestra and elec- tronics (2011), Lágrimas de cocodrilo for soprano, flute, clarinet, violin, cello and electronics (2012), Kinecticut, sound & broadcast choreography for four performers and four computers (2012), Dirty Laundry for tape (2012), Lavando perlas (Pearl Dance) for toothbrush, artist and electronics (2012), Contrabando for en- semble (2013), Promiscuity for violin, clarinet, trombone, tuba, double bass and electronics (2013), Arti’piaf, typewriter app for artificial birdsong generation (2014), ALibi, music and software for a choreography of Lorena Dozio (2014), Erdbeben (Trem- blements), music for a video installation of Alexandra Maurer (2014), Anatomical DJ for computer, kinect, six loudspeakers and projector (2014), Henry in the sky with diamonds for con- tratenor, flute, oboe, clarinet, percussion, violin, viola and cello (2014), The Fuck Facebook Face Orchestra for four performers, four computers and four projectors (2015), Corralejas, sound installation (2016), Desplazados for 4–5 performers, computers, amplified thermal blankets, MIDI percussion pads and real-time video (2016), Pocket Enemy for ensemble and electronics (2017), Ailes, electroacoustic music for contemporary dance (2017), Laps, music for a choreography of Olivia Ortega (2018), The Love Let- ters? for two performers, two webcams, two computers, video and electronics (2018), Borracho digital for sampler, electric guitar, Monday / 21 September / 19:30 composers saxophone, percussion and text generator (2019), Swallow! for four performers, four computers with webcams, text generator, video and electronics (2019).

Swallow! Like, share, click, buzz, pay (it’s free?), relax, open your mouth and swallow! Four persons in front of their computers. Each movement and facial gesture is tracked, recognised and converted into control signals. Blinking eyes, a moving gaze or a grimace generate mu- sic, images and text. Faces express no emotions anymore. They serve trends. They feed algorithms. Could today’s society be defined by hashtags? This piece stages the fragility of a contemporary society fascinated by technology, a recurrent idea in my late hybrid performance pieces such as The Fuck Facebook Face Orchestra, The Love Let- ters?, and Kinecticut. Daniel Zea / 115 /

Arturo Corrales Composer, conductor, musicologist, guitarist, teacher and archi- tect. Born in El Salvador and naturalised Swiss, he studied music in San Salvador, Geneva, Lugano, and Paris. He is an intensely active composer on the Swiss and international scene. Cofound- er of the Ensemble Vortex and the duo Electric Primitivo. He participates in various international art festivals as composer, performer, teacher, and conductor. Currently, he is professor of composition and analysis at CPMDT, artistic and musical direc- tor of the Orchestre des Trois-Chêne, Ensemble Vortex, and Elec- tric Primitivo. He obtained a PhD with honours in musicology from the University of Geneva, winning the 2019 Barbour Award for excellence in aesthetic criticism.

Selected works (since 2010): parenthèse faim, music theatre (2010), (FOLK YOU!), “fractal canon in augmentation on a pop- ular melody” for recorder, violin and computer (2010), señores les voy a contar… for string orchestra (2011), tres danzas desnudas for voice and orchestra (2011), muchos guaitacaminos, madrigal for tenor saxophone, marimba and electronics (2011), l’arbre aux clous for recorder, voice and percussion (2011), field crashers (musique contemporaine?) for speaker, two violins, guitar and double bass (2012), el paso de la muerte patente for flute, soprano saxophone, piano, percussion and electronics (2012), azulejo for drummer and many musicians (2012), xix-ìm for orchestra and sound objects by Joaquín Orellana (2012), onde, show for seven instruments, elec- tronics, dance and theatre (2013), canto de vidrio for viola d’amore and electronics (2013), feedthrough (Argentum Bullshit), perfor- Monday / 21 September / 19:30 composers mance (2013), descenso a Xibalbá for 13 instruments (2013), foto movida for two clarinets and percussion (2013), folk you too…! for piccolo, violin and piano (2013), I sing the body electric, per- formance (2013), grosso modo for six percussionists (2014), step for three clappers (2014), coral cautiva for nine instruments and electronics (2014), bug trilogy for guitar, ensemble and electron- ics (2014), offertorium, liturgic music for a cappella choir (2015), acida lourde for two pianos, three percussion, accordion and elec- tronics (2015), cathédrale avec des briques (contes fantastiques) for orchestra (2015), querida O.C.P., manifestation for 30 pianos (2015), mono espacial, string quartet (2015), song for viola, piano and electronics (2016), clous, performance for electric guitar and laptop (2016), liquid carillon dream for two violins (2016), muévete Janus…! for percussion and orchestra (2017), the undrowned down under drone wonder for 11 musicians and electronics (2017), CH for choir, piano and percussion (2017), scrubbing Queen for back- wards voice and ensemble (2017), deuxième cathédrale avec des briques for orchestra (2017), Rifffor electric guitar and ensemble (2017), Tulpa for bass clarinet and string quartet (2018), muro 116 \ cuarto for electric guitar, electronics and video (2018), princess coma hicry NY for video virus (2019), hidden track for CD track (2019), flowfor violin and ensemble (2019), massiv for reed quin- tet (2019), the cold for women’s choir, synthesizers and percussion (2020), troisième cathédrale avec des briques for orchestra (2020).

Tulpa With obsession and fury. Those are the first indications written in the music, and instead of being an opening that will calm down later, the music turns like a helix as it becomes tighter and heav- ier, more obsessed and more furious, like a descent into Dante’s circles of Hell. Passages from one circle to the other have rhyth- mical relations, so as to have always a present past and an an- ticipated future, as visions of what just happened and what will occur. Rhythm and colour changes are in fact the most important elements of the piece, acting as a hypnotic movement vowed to induce a paradoxical state of very active trance. Tulpa is a being that is created through spiritual powers, it comes from Tibetan manifestation or emanation. In ’s , it is used to name the double of a person, and it is supposed to have autonomous will and has some relation with the mysterious Doppelgänger in Europe. The music plays with this doubling effect on many levels: heter- ophony of similar lines producing a blurred line, talea-like rhyth- mical repetition games, diffraction of the sound through timbre and sound colours, and so forth. The intensity of the music’s obsessive trip gets finally dissolved into a beautiful, yet still distorted, melody, paraphrased from Mo- zart’s famous quintet for the same formation: clarinet and string quartet. This masterpiece was one of the favourite pieces of Peter Minten, to whom this music is dedicated. Arturo Corrales Monday / 21 September / 19:30 composers

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Fernando Garnero He studied composition with Éric Gaudibert in Geneva and Ivan Fedele in Strasbourg, computer-assisted composition with Thom- as Kessler and Hans-Peter Kyburz in Basel, and electronic mu- sic at IRCAM (2008–9). He has also been inspired by meetings with Brian Ferneyhough, Georges Aperghis, Gérard Pesson, and Thierry Blondeau. His compositions are played by leading ensembles, orchestras and soloists, including Contrechamps, Vortex, Accroche Note, KDM, Phoenix, Proton, Repertorio Zero, OSPSF, Cairn, Lucilin, Distractfold, Wet Ink, L’imaginaire, S.I.C., Sillages, Les Solistes de Lyon, Reconsil, Argonaut, Scapegoat, Vertixe Sonora, Françoise Rivalland, Donatienne Michel-Dansac, Mauricio Carrasco, Béa- trice Zawodnik, and Charlote Testu. His music has been featured at festivals such as the Venice Biennale, Strasbourg’s Musica, Huddersfield, Archipel, BIFEM, MIA, Berlin’s Unerhörte Musik, / 117 Voix Nouvelles, , St Petersburg’s International New Music Festival, and many others. He has received commissions from Royaumont, Venice Biennale, SUISA, Mika Salabert, Radio France, Liechti, Nestlé, Nicati de Luze, French Ministry of Cul- ture, Festival des Voix de Prieuré, Teatro Colón, and has been the recipient of prizes and scholarships from the canton of Ge- neva and the Patiño Swiss Foundation. Fernando Garnero is the founder and artistic codirector of Swiss ensemble Vortex, part of Vortex Project, a collective of new music composers and per- formers based in Geneva. He is Associated Artist to BIFEM Fes- tival until 2023. From September 2020, he is a resident at the Villa Médicis (French Academy) in Rome.

Selected works (since 2010): Odradek for flute, clarinet, oboe, percussion, electric guitar, accordion, viola, cello and double bass (2010), Por la ribera, hacia ningun río soñado for flute, clarinet, percussion, piano and amplified string trio (2011), Kraftfor danc- er, percussion and electronics (2011), Ballad/Avoidances for alto flute, , percussion, piano and electronics (2012), Deshilacha maneras for orchestra (2012), Ojo de buey for 14 per- formers (2013), Limae labor for amplified string trio and electric guitar (2013), Granite Lip for flute, oboe, bass clarinet, trombone, accordion, violin, viola and cello (2014), Bop/Avoidances for flute, bass clarinet tenor saxophone, percussion, sampler, violin, vio- la and double bass (2014), Interlude for electric guitar (2014), Fabula for amplified bass clarinet, double bass and electronics (2015), NTPM for accordion, two percussionists and electronics (2015), Ragtime/Avoidances for amplified bass flute, baritone sax- ophone, piano and electronics (2015), Las Nereidas for 4-channel electronics (2015), Fabulae for amplified ensemble, electronics Monday / 21 September / 19:30 composers and video (2016), Neon Pig for 12 performers and low-fi elec- tronics (2017), Junkspace for oboe, prepared bass clarinet, bas- soon, percussion, harp, violin, cello, double bass and electronics (2017), Tête/Carrousel for baritone saxophone, percussion and electronics (2017), Mutante/Amniotica for double bass and elec- tronics (2018), Dynamogramme: Allegretto for 14 musicians and electronics (2018–19), Trans-étude#1 for bass flute, baritone sax- ophone and toy piano (2019), V15, 17-channel installation for 1600 piezo loudspeakers and two subwoofers (2019–20), Trans- étude#2 for flute, viola and harp with engines (2020).

Limae labor In memoriam Éric Gaudibert …hat also der Geist die Bewegung seines Gestaltens beschlossen… (…The spirit also concluded the movement of his figures…) Georg W. Hegel, The Phenomenology of Spirit

I found the title of this piece while I was making it, when the first ideas are put into perspective by the work. It is a quote from a Beckett poem, Serenade I, which evokes at the same time my 118 \ work on sound objects in a context of complex repetition, a re- curring sound and the staging of the energy used by the per- former’s body in the making of the sound. Finally, it alludes to an obsessive way of working with sound material. Limae labor. Latin: the file work. Allusion to Horace, Ars Poetica, 291–92 (Samuel Beckett, Les Os d’Écho et autres précipités, Les Éditions de Minuit, 52). Fernando Garnero

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Francisco Huguet Salvadoran composer and engineer born in 1976 in San Salvador, El Salvador. His music is impregnated with the idea of active con- templation, not only in a sensorial way but also in a human inte- rior-spiritual dimension. His music intends to bear a meaningful ritual sense. His creative process is marked by research in both aesthetics and technical domains. He explores the incorporation of scientific notions and technics, like the use of psychoacoustic descriptors as compositional parameters, or the development of CAC environments using genetic algorithms technics. His com- position method is a back-and-forth process between the em- pirical treatment of sound matters, the conception of time and timber structures, and the development of CAC and sound synthesis tools. His music has been played at various festivals in both Europe and the Americas. He is a teacher and researcher at the Electronic and Informatics Departement at the Universidad Centroamericana José Simeón Cañas in San Salvador, El Salvador.

Selected works: Fiction I for ensemble and electronics (2006), Fiction II for clarinet, piano, percussion and electronics (2007), Monday / 21 September / 19:30 composers Hora de la ceniza for violin, horn, bass clarinet, guitar, double bass, percussion and electronics (2007), Mas de mil luciérnagas for string quartet and electronics (2007), 62 for ensemble, bass clarinet and electronics (2008), Le puits de la Joie for quintet and electronics (2009), Damora for violin and double bass (2009), The Corners of This Section for cello and electronics (2010; elec- troacoustic version, 2015), Ne Tepehua for 12 violins (2010), Barranco cantante for string quartet (2012), Barranco cantante resonante for violin, viola, cello, double bass, percussion and electronics (2012), Volviéndose un sol for flute, clarinet, violin, cello and electronics (2012), Sin nombre, electroacoustic work (2013), Cabeza de Montaña I, electroacoustic work (2013), Ca- beza de Montaña II for organ siren and electronics (2013), La flor más rara for performer, motion tracking system and electron- ics (2014; electroacoustic version, 2015; version for cello, bass clarinet, double bass and electronics, 2016), Nocturnal for flute, saxophone, piano and electronics (2016), Sans titre for cello, vi- braphone, electric guitar, electric bass and electronics (2017), Mo- saico, 12-channel installation for 24 loudspeakers (2018), Trasluz, / 119 electroacoustic work (2018), Deriva de Ghetto, electroacoustic work (2018), Deriva de Nabla, electroacoustic work (2018), Deri- va de Core for alto, cello, electric guitar, double bass and elec- tronics (2018), Ataques masivos sobre estructuras, electroacoustic work (2019).

La flor más rara I hand you over, from all the ones that inhabit me, the sole one without a name, that one which moved you the most. I give you my strangest flower. In memoriam Federico Miguel Huguet and Minjung Woo. Francisco Huguet

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Rafał Zapała Composer, improviser (piano, percussion, live electronics), sound artist, Associate Professor at the Academy of Music in Poznań. He holds a postdoctoral degree in composition and an MA in choral conducting. He has participated in masterclasses such as the Summer Courses for New Music in Darmstadt, Stockhau­ sen Concerts and Courses in Kürten, IRCAM’s Acanthes in Metz with Tristan Murail and Beat Furrer, STEIM in Amsterdam with Alvin Lucier, , Zbigniew Karkowski, and many others. He does not acknowledge any boundaries between music ac- quired through academic education, countercultural experiences, and collaborating with artists from other fields of art. His music is featured at contemporary music festivals, jazz clubs, experimental music venues and open public spaces. Monday / 21 September / 19:30 composers He has been a resident artist notably at the Center for Comput- er Research in Music and Acoustics of the Stanford University (2014), Zamek Culture Centre in Poznań (2014), Philhar- monics (2014/15), ZK/U (Zentrum für Kunst und Urbanistik) in Berlin (2016), and Vertigo STARTS (IRCAM, Centre Pompi- dou, 2019). He is the founder and director of the an_ARCHE NewMusic- Foundation as well as many ensembles and musical initiatives involving composer, improvised, electronic, and experimental contemporary music, including Kołorking Muzyczny. His own concept of Live Electronic Preparation (LEP Technique) was in- cluded as a chapter in The Oxford Handbook of Interactive Au- dio (2014). Sound actions and installations embedded in the urban space play a special role in his output, including Sensorium (a mon- umental sound installation in the belfry of the Castle Culture Centre in Poznań, in cooperation with the Adam Mickiewicz In- stitute) and Post-Apocalypsis (Gold Medal for the Polish pavilion at the Quadriennale, 2015). 120 \ He plays keyboard and electronic instruments in the POLMUZ, XynThi, and TonyTony ensembles.

Selected works: Gon for ensemble and electronics (2008), Poster for string quartet and live electronics (2010), Nicolette for flute and live electronics (2010), Splitter for guitar and building wall, sound installation (2011), Scanner for symphony orchestra, electronics and soundscape (2011), Cleaner for double bass and electronics (2013), Where is my mind!?!!, sound installation trip- tych (2013), Ideograms I–III for symphony orchestra (2013–14), Scherzo for ensemble (2014), Post-Apocalypsis, sound installation (collective work of the Dead Baitz collective, 2014), Sensorium, sound installation (2014), Squares for triangles and live electron- ics (2016), Concentus apparatus for string quartet and live elec- tronics (2016), Irreversible for string quartet and live electronics (2017), Scrolling to Zero for organ, electronics and interactive audience (2017), No Meaning Detected for violin and electronics (2018), Futility for five instruments, electronics and video (2020).

Daremność (Futility) Pessimism exists. Pessimism is the lyrical defeat of the mind; the melodramatic futility of philosophy; the ironic and laconic “we will never make it.” This work is inspired by the writings of Eugene Thacker, who claims that we are slowly approaching the limit of our capacity of understanding the world: a world of planetary catastrophes, pandemic, tectonic changes, erratic weather, oil-spilled maritime landscapes, and a continuously looming rampant extinction. Thacker treats all these situations as an “unthinkable” phenom- enon: we cannot predict them or stop their effects. Pessimism is the uneasy thought of a world-without-us. Rafał Zapała Monday / 21 September / 19:30 composers

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/ 121 ENSEMBLE VORTEX The Vortex Ensemble is a group of composers and musicians who work in Geneva. Out of a shared wish to create and present con- temporary serious music, eleven professional musicians of Afri-

Monday / 21 September / 19:30 performers can, Latin American, and European origin created an association in 2005 and organised a series of concerts. Success, the fruit of hard work of talented composers and highly professional musi- cians, was immediate. Since then, each season the Ensemble has organised three concerts where members present their new crea- tions as well as three other concerts where they play pieces from their repertoire. Each event provides an opportunity to commis- sion the composition of new music from various composers of dif- ferent artistic directions. The group makes every effort to support young talents: they play new works of emerging composers at every concert. The work of Vortex combines the latest composi- tion techniques with the diffusion of sound in space. Work with electroacoustic music is integral part of the creative process. Every concert programme includes works of acoustic, mixed and purely electronic music. The Vortex Ensemble has firmly estab- lished itself on the contemporary musical scene of Europe. It has been invited to perform by the Foundation Royaumont of France, STEIM (The Netherlands), Festival Archipel (Switzerland), festi- vals of contemporary music of Santiago, La Serena, and Buenos Aires. It collaborates with prestigious ensembles such as the Neue 122 \ Vocalsolisten of Stuttgart, Ensemble Mondrian of Basel, Collectif CH.AU of , and since 2012, Ensemble Phoenix of Basel. Ensemble Vortex is supported by the City and Canton of Geneva, Loterie Romande, Fondation Nicati–de Luze, and the Fondation Nestlé pour l’Art. Tuesday / 22 September / 19:30 / 22:30 Tuesday / 22 September / 19:30 Witold Lutosławski Polish Radio Concert Studio

Adam Bałdych violin

NFM LEOPOLDINUM STRING TRIO: Christian Danowicz violin Michał Micker viola Marcin Misiak cello

NFM LEOPOLDINUM ORCHESTRA

Christian Danowicz conductor 124 \

Paweł Hendrich electronics

Concert cofinanced from the Creativity Promotion Fund of Society of Authors ZAiKS

The work Metanoia by Ewa Trębacz has been cofinanced by the Minister of Culture and National Heritage’s Culture Promotion Fund within the Composing Commissions programme, implemented by the Institute of Music and Dance.

Co-organiser: Tuesday / 22 September / 19:30

Musica Polonica Nova at Warsaw Autumn: A special Presence

Paweł Hendrich Prismiris (2018) for string trio

Tomasz Skweres Concertino (2018) for string orchestra / 125 Przemysław Scheller Dziewczynka z zapałkami (The Little Match Girl) (2019) for string orchestra

Ewa Trębacz Metanoia (2020)** concerto for violin, string orchestra and surround sound (National Forum of Music commission)

** first performance Paweł Hendrich Born in 1979 in Wrocław, he obtained an MA from the Wrocław University of Economics and Business. He also graduated composition from Grażyna Pstrokońska-Nawratil’s class at

Tuesday / 22 September / 19:30 composers the Karol Lipiński Academy of Music in Wrocław, and from the High School of Music in Cologne. His works have been per- formed at concerts and festivals as in Poland, Germany, Austria, , Spain, Portugal, Czechia, Turkey, Estonia, Russia, Ja- pan, China, the United States, , Malta, , Lat- via, and Slovakia. His music has been commissioned by, among others, the Warsaw Autumn Festival (for Ensemble Musikfab- rik and Basel Sinfonietta), Deutschlandfunk (for Kwartludium), Goethe-Institut, BHF Bank Stiftung and Ensemble Modern, City of Wrocław (for NOSPR), Polish Institute in Madrid (for Plu- ralEnsemble), Institute of Music and Dance, Orkiestra­ Muzyki Nowej (New Music Orchestra), Forbidden City Chamber Or- chestra, NFM National Forum of Music (for the Lutosławski Quartet and LutosAir Quintet), Society of Authors ZAiKS, and Polish Composers’ Union (for Pablostrom and orkest de ereprijs). For more than a decade, Paweł Hendrich been programming and composing in the Max/MSP environment. With Cezary Duch- nowski and Sławomir Kupczak he performs live electroacoustic music in the trio Phonos ek Mechanes, which has appeared at festivals of improvised, contemporary, and electroacoustic music 126 \ as well as concerts in Poland and abroad. In 2010 DUX released Paweł Hendrich’s single-composer album Chamber Works, and in 2017 – Metaforma. In 2012 Bôłt Records brought out Phonos ek Mechanes’ first CD entitled C+-. Hen- drich’s works have also appeared on a dozen other CDs.

Selected works: Gnothi seauton for chamber orchestra (2001), Let Your Spirit Descend for speaker, tenor, baritone, bass and two female choirs (2002), Heterochronia for large symphony orchestra (2002–4), Phonarium I, sound installation (2005), Diversicorium for chamber ensemble (2005), Anepigraph for small orchestra (2005), Multivalentis for clarinet, trombone, cello and piano (2006), Phonarium II, sound installation (2006), Metasolidus I for symphony orchestra (2005–7), Cyclostratus for violin, bass clar- inet, marimba, piano and beatbox (2008), Hyloflex α for string orchestra (2007–9), Liolit for chamber orchestra (2009–10), Dia­ phanoid for chamber ensemble (2010), Emergon α for chamber ensemble (2011), Emergon β for computer (2011), Metasolidus II for large symphony orchestra (2011–12), Cryptoscript for com- puter (2012), Sedimetron for chamber ensemble (2012), Kioloik for flute (2012),Drovorb for clarinet, horn, piano, violin, viola and cello (2013), Ertytre for 1 or 8 cellos (2013–14), Accant for ac- cordion and computer (2014), Alopopulo for chamber orchestra, violin and computers (2014), Xenobrach for two percussion and two pianos (2015), Pteropetros for , accordi- on and string quartet (2015), Exophor for Chinese instruments ensemble (2015), Fables for Robots, co-opera for chamber ensem- ble, computers, video and speech synthesiser (with Cezary Duch- nowski 2015–16), Mutuusmutus for chamber orchestra and air percussion (2016), Hordiaver for chamber orchestra (2016–17), Holoedr for saxophone, trombone, accordion, piano and cello Tuesday / 22 September / 19:30 composers (2017), Gliptopalinomia 7.2, 2.7… for piano (2017), Prismiris for string trio (2018), Gliptopalinomia 10.1, 1.10… for piano (2018), Gliptopalinomia 7.1, 1.7, 3.5, 5.3… for piano (2018), Gliptopalino- mia 6.3, 3.6, 6.3, 3.6, 5.4, 4.5, 5.4, 4.5… for piano (2019), Absu for flute (2019), Dualabilis for two and electronics (2019), Absusurrus for orchestra, flute and electronics (2019), Here and There, install-action for chamber ensemble, electronics and vis- ualisations (2019).

Prismiris Thetitle of the work is made up of two words: the Greek πρίσμα (prisma – prism) and the Latin iris (rainbow). Both words are strongly associated with optics. Theformer refers to the phenom- enon of light dispersion. The latter gave the name to the optical phenomenon of iridescence (irradiation). Both these phenomena have influenced the content of the com- position. The former (dispersion) became the basis for the gen- eration of three different tempi in the opening of the work (one for each of the musicians) and for creating the impression of dis- persion (release) of a beam of each individual part in relation to / 127 the others. We feel that the violin plays at the fastest tempo, the vi- ola at a slower one, and the cello at the slowest. From the very be- ginning we hear regular rhythms, which are in fact the same for each of the instruments, but performed at three different tempi, related to each other by the simple ratios of 2:3 and 3:4. Against the background of these rhythms, as in the process of iri- descence, there appear increasingly more ornaments, instrumen- tal gestures and runs, which enrich the raw rhythmic part known from the beginning of the piece. These ornaments sparkle more and more. They are like opalescent colours appearing on the mul- tilayered surface of transparent or translucent bodies (such as pearl mass, gasoline stains, or soap bubbles) as a result of irides- cence, which in turn is a consequence of light wave interference. Paweł Hendrich

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Tomasz Skweres Composer and cellist residing in Vienna and . He studied at the University of Music and Performing Arts in Vienna. He is the winner of numerous awards and scholarships, includ- ing the Staats­stipendium für Komposition, Austrian Minis- ter of Culture’s Startstipendium, Theodor Körner Prize, and City of Vienna Award, as well as awards in many competitions for composers, such as TONALi in Hamburg and the Franz Josef Reinl Competition in Vienna. His works are regular- ly performed at major festivals and commissioned by leading concert halls (Vienna Konzerthaus, Regensburg Theatre, Na- tional Forum of Music in Wrocław), festivals (Wien Modern, Musica Polonica Nova, Leo Festiwal) and ensembles (ORF Ra- Tuesday / 22 September / 19:30 composers dio-Symphonieorchester Wien, Apollon Musagète Quartet). Concerts featuring his works have been broadcast in many countries worldwide, including by Polish Radio Channel 2, Bavarian and North German Radios, Ö1 and radio klassik Stephansdom (Austria), ABC Classic (Australia), and RAI Südti- rol (Italy). His music has been released under labels such as Genuin, , and Orlando Records, and scores have been published by Musikhaus Doblinger and Sikorski Music Publishers. Since 2012 Skweres has been the leader of the cello section in the Regensburg Philharmonic Orchestra. In 2016–17 he taught a cello class at the High School of Music in Detmold. He gives performances also as a chamber musician and soloist, appearing mostly in contemporary repertoire. He is a cellist in the Austrian Platypus Ensemble.

Selected works: Gebet for soprano and cello (2005), Psalm 13 for tenor, flute and cello (2006), String Quartet no. 1 (2006), Direkt to words of Psalm 14 for soprano, flute and cello (2007), Water for piano trio (2008), Sakubel Osil for soprano and four 128 \ instruments, to a poem by Mary Bautista (2008; rev. 2015), Aste- ria-Ortygia-Delos for string quartet (2009), Am Anfang starb ein Rabe for narrator, baritone and 12 instruments (2010), 5 Elements for guitar and piano (2010), Autismus for flute and harpsichord (2010), Axon for flute and clarinet (2010), Nocturne for cello and orchestra (2011), Double-headed for horn (2012), Hesitation for cello and piano (2012), Spannungsfelder for cello and double bass (2012), 5 Miniaturen for saxophone, clarinet, accordion and double bass (2013), Critical Mass for symphony orchestra (2013), Tituba for instrumental ensemble (2013), Elusive Thoughts for vi- olin, viola and cello (2014; rev. 2016), Memory Illusions for violin and harp (2014), Penrose Square for saxophone quartet (2014), mori no sakana for soprano, bass clarinet and cello, to a poem by Erika Kimura (2014), Die Geometrie des Himmels ist unerhört for speaker and six instruments, to poems by Semier Insayif (2014), Journey into the Subconscious for flute, cello and piano (2015), über das farbige der Doppelsterne… for symphony orchestra (2015), von Schwele zu Schwele for 13 instruments (2015), Anaka- lypteria for female voice and symphony orchestra (2016), Gren- zgänge for (2016), Desiderium, chamber opera for two sopranos, two actors and five instruments (2017), Rovanemi for soprano and cello (2017), in fremder fremde for mezzo-so- prano and piano (2017), seven affects for violin and cello (2017), Maledictio for recorder, transverse flute, harp and harpsichord (2017), Plutonion for symphony orchestra (2018), Concertino for string orchestra (2018), Synapsen, four miniatures for historical instruments (2018), Catacombs for violin, cello and organ (2018), Anekdote über Strawinsky for violin and piano (2018), Coffin Ship for cello, soprano saxophone and accordion (2018), Piwosznik for bass clarinet and cello (2019), Heavy Gravity for two violins (2019), Haymatloz for symphony orchestra (2019), Water Girl, Tuesday / 22 September / 19:30 composers fantasy for English horn and instrumental ensemble (2019), Event Horizon for 15 instruments (2019), contra venenosos vermes for cello and mixed choir (2019), In Search of Sound-Object for so- prano and cello (2019), Concerto for cello and orchestra (2020), Plague for eight cellos (2020).

Concertino for string orchestra is, despite its small dimensions, a piece of special importance to me. I am a concert cellist and the string orchestra is not only well known but also especially close to me. While composing I tried to identify with the individual parts, so as to give each instrumentalist a chance to co-create the inter- pretation. As the title suggests, the mutual interaction of solo and tutti sec- tions plays a key role in this piece. While writing it, I have fre- quently asked myself what special emotional values solo playing has for the musician, and what the values of playing in a collective are. I mostly focused on the borderline area between these two forms of expression. Even the smallest melodic segment, constituting a musical gesture / 129 which carries a maximum emotional load, is in a way the quin- tessence of a much longer, extensive artistic utterance. It is re- sponsible for the highly expressive character of this work, also emphasised by microtonal harmonies, spectral structures, and shifting harmonic fields. Tomasz Skweres

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Przemysław Scheller He began to compose at age 18 under the guidance of Ukrainian composer Ulyana Bilan. Having graduated with distinction from the Karol Szymanowski Academy of Music in Katowice (class of Aleksander Lasoń) and the CNSMD in Lyon (class of Philippe Hurel), he obtained his DMA in 2018 under the artistic and sci- entific supervision of Jarosław Mamczarski (Katowice Academy of Music) and Michele Tadini (CNSMD Lyon). At present he is assistant professor at the University of Katowice and assistant lec- turer at the Music Academy in Katowice. He plays and collects ethnic instruments from all over the world. Electronic media, and especially mixed acoustic-electronic sound, play an important role in his music.

Selected works: Blind-Seeing for symphony orchestra (2011), Yiri for didgeridoo and live electronics (2012), Vision of Open Skies for chamber orchestra, basso profondo, didgeridoo and elec- tric guitar (2012), Song of the Brightness of Water for flute (2012), Time-Luminous for nine musicians (2014), Imaginary Landscape for chamber ensemble and live electronics (2015), Ocean of Forms for two choirs and harp (2016), Scintillation for chamber ensem- Tuesday / 22 September / 19:30 composers ble and live electronics (2016), Winter for accordion and live elec- tronics (2016), Consors paterni luminis for Gregorian singer, harp, accordion, cello and electronic media (2017), Sonata for harp and flute (2018), The Little Match Girl for string orchestra (2019), Road Marked with Dead Grain for clarinet and string orchestra (2019), Three Miniaturesfor quadraphonic string quartet (2019), Duration Study for tape (2019), Phos Hilaron for Gregorian singer and electronic layer (2020).

Dziewczynka z zapałkami (The Little Match Girl) Dedicated to the memory of my Mother. Przemysław Scheller

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Ewa Trębacz Born in 1973 in Kraków, Poland, she is a Polish-American com- poser permanently residing in Seattle. Her works range from purely instrumental (solo, chamber, and symphonic) to compo- 130 \ sitions with live-generated computer sound, soundtracks for ex- perimental animated films, and stereoscopic audiovisual pieces. Space is an integral part of Trębacz’s works, and frequently acts as a catalyst for improvised actions performed in spaces which boast unique acoustics. She creates her improvisations in collaboration with invited musicians, and records them using three-dimen- sional (immersive) sound recording techniques (Ambison­ics). Then she uses them as sound material for her future compos-­ itions. Trębacz studied composition with Bogusław Schaeffer at the Acad- emy of Music in Cracow, graduating in 1999. In 2004 she became one of the first doctoral students in Digital Arts and Experimen- tal Media (DXARTS) at the University of Washington in Seattle, from which she obtained her PhD in 2010. Currently she works at DXARTS as a Research Scientist and teaches courses related to electroacoustic and computer music as well as digital arts. While in Seattle, she returned to the violin and to public performances after completing private studies with Finnish-born violinist and teacher Ilkka Talvi. In 2009, her composition things lost things invisible for Ambisonic space and symphony orchestra became a recommended work of the 56th UNESCO International Rostrum of Composers in Paris. Her single-composer CD, including two chamber music pieces and three orchestral works, was released in 2013 by Polish Radio, the Polish Composers’ Union and Polish Music Information Cen- tre in the series Polish Music Today. Since 1998 Trębacz has cooperated with the Animated Film Stu- dio of the Jan Matejko Academy of Fine Arts in Cracow (pri- marily with Robert Sowa). In 1999 she won the City of Cracow Artistic Scholarship. He has received composer commissions and grants for artistic projects from many festivals, institutions Tuesday / 22 September / 19:30 composers and ensembles, including the Klangspuren Festival, Warsaw Autumn, Polish Composers’ Union, University of Washington School of Drama, Mid Atlantic Arts Foundation / USArtists In- ternational, Allied Arts Foundation (grant ‘Listen UP!’ Music by Women, 2018), Seattle Modern Orchestra, and Seattle-based en- semble Kin of the Moon. Her electroacoustic works have been presented, among others, during the International Computer Music Conference (ICMC) and the conference of the Society for Electro-Acoustic Music in the United States (SEAMUS), Electroacoustic Music Festival (NYCEMF), Mise-En Festival, and Splice Festival 2, as well as many other festivals and conferences dedicated to electroacoustic and computer music.

Selected works: Aletheia for string orchestra (2000), Il fonte adamantino for string quartet and vocal ensemble (1996–2002), Spinning Zone for percussion and electronics (2002), Chordochro- mies for harpsichord and electronic media (2003), Ephemerae for symphonic wind ensemble (2005), Curriculum Vitae, digital video (2005), Minotaur for horn and surround sound (2005), things lost, things invisible for Ambisonic space and orchestra (2007), ERRAI. / 131 Immersive Audiovisual Space for soprano, horn and audiovisual immersive media (2009), ANC'L'SUNR for symphony orchestra and spatial soundscape (2012), Iriviskia for violin and with surround sound (2015), Ligeia for invisible soprano, chamber ensemble and surround sound (2016), Winter After Times of Fire for ensemble of improvisers and surround sound (2019), Inanna Descending for variable ensemble and Ambisonic sound (2019), Metanoia, concerto for violin, string orchestra and surround sound (2020).

Metanoia is a violin concerto for an improvising soloist, string orchestra, and spatial soundscape. The instrumental parts are derived from the sound material in the electronic layer, and draw on two an- cient types of performance practice: heterophony and improvi- sation. The solo violin part is partly notated, partly improvised. The soloist is expected to create his or her own unique responses to the notated phrases, in a dialogue with the electronic sound- scape, the orchestra and the acoustic space. Sounds in the electroacoustic layer are based on sound material I recorded using various Ambisonic microphones in acoustical- ly inspiring spaces. These sounds include instrumental samples (Ewa Trębacz – violin, Josiah Boothby – French horn) as well as doors, gates and metal objects in Fort Worden bunkers and in the reactor building of the Satsop Nuclear Plant, in the state of Washington. Most sound sequences were algorithmically gener- ated from this prerecorded material. The violin is the instrument I play myself, and have a very per- sonal relationship with, after many departures and comebacks. I see this piece as my own “reconciliation” with this one-of-a-kind Tuesday / 22 September / 19:30 composers instrument. I owe my special thanks to the Digital Arts and Experimental Media, University of Washington (dxarts.washington.edu). Ewa Trębacz

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132 \ Adam Bałdych Violinist and composer. He grew up in Gorzów Wielkopolski; at present he resides and works in Warsaw. He has cooperated with the German ACT publisher since 2012. Winner of the Echo Jazz

(German music industry) award, Bałdych has also been nominat- Tuesday / 22 September / 19:30 performers ed for the Coryphaeus of Polish Culture. His other accolades in- clude the Golden Cross of Merit and the Badge of Merit to Polish Culture. He began his music career at age 14. He quickly began to perform his own music in Poland, Germany, , Chi- na, Japan, the United States, , Austria, Iceland, Portugal, Azerbaijan, the Netherlands, Sweden, , Finland, Spain, Indonesia, and other countries. He soon developed his own style combining the achievements of classical music and the contem- porary violin language with an improviser’s talent.

NFM LEOPOLDINUM STRING TRIO The trio was founded in 2009 by the NFM Leopoldinum Or- chestra’s concertmaster and section leaders Christian Dano­ wicz, Michał Micker, and Marcin Misiak, all three winners of major music competitions in Poland and abroad. As recipients of a scholarship, the artists studied at the Reina Sofía school in Madrid under the outstanding violinist and chamber musician Günter Pichler, first violin in the famous Quartet. Thetrio regularly performs in the National Forum of Music’s ar- tistic seasons and at Leo Festival. The artists have also appeared / 133 in Madrid, Hanover, and Thonon-les-Bains, as well as giving per- formances at the Festival Pablo Casals in Prades and the ISCM World Music Days. The members of the Trio are lecturers at the Karol Lipiński Academy of Music in Wrocław.

NFM LEOPOLDINUM ORCHESTRA In its 40 years of existence, the NFM Leopoldinum Orchestra has become a well-respected ensemble on the classical music scene. Its current standing has been shaped by different schools of ensemble direction (the orchestra has been headed by Karol Teutsch, Jan Stanienda, Zbigniew Szufłat, Heinrich Schiff, An- toni Wit, Ernst Kovacic, and Hartmut Rohde). They have devel- oped an approach to music that allows both emotional aspects and clarity of musical structure and voices to shine through. Initially focused mainly on Classical and , later the orchestra expanded its repertoire through to the 20th century. The ensemble’s recordings are highly praised for the quality of both the performance and programming. For several years now the priority of the NFM Leopoldinum Orchestra has been to per- form compositions by renowned 20th- and 21st-century com- posers. The ensemble presents listeners with works of the highest standards, including some that rarely feature in mainstream con- cert programmes. The remarkable violinist and conductor Joseph Swensen has been the artistic director of the NFM Leopoldinum Orchestra since September 2017. Christian Danowicz A graduate of the Conservatoire in Toulouse (violin class of Gilles Colliard) and the Fryderyk Chopin University of Music (MA in the violin classes of Julia and Krzysztof Jakowicz and BA in the or-

Tuesday / 22 September / 19:30 performers chestra and opera conducting classes of Antoni Wit and Tomasz Bugaj). He obtained a doctoral and postdoctoral degree from the Karol Lipiński Academy of Music in Wrocław, where he cur- rently teaches a violin class. He is the winner of the 3rd Prize in the 4th International Tadeusz Wroński Competition for Solo Vi- olin in Warsaw. In 2010, he received the 1st Prize in the Chamber Music Competition at the Duxbury Music Festival in the USA. In 2016, he was the winner of the Emotions Award of Radio Wrocław Kultura. Recorded under his direction together with the NFM Orchestra Leopoldinum and Atom String Quartet, the CDs Made in Poland and Supernova won the 2018 and 2019 Fryderyk Awards, the former also receiving the Wrocław Mu- sic Prize in 2018. Christian Danowicz is the concertmaster of the NFM Leopoldinum Orchestra, with which he regularly per- forms as a soloist and conductor. Since 2018, he has taught violin at the Fryderyk Chopin University of Music in Warsaw.

134 \

Tuesday / 22 September / 22:30 ATM Studio

19/91: Aleksandra Kaca, Teoniki Rożynek, Żaneta Rydzewska performance, instruments, live electronics

ELECTRIC PRIMITIVO: 136 \ Arturo Corrales electronics Emilio Guim electric guitar

Przemysław Kunda sound projection Tuesday / 22 September / 22:30

Aleksandra Kaca, Teoniki Rożynek, Żaneta Rydzewska Ultimate errors compilation (2020)** improvisation for three female performers, objects, instruments and live electronics

Emilio Guim Lies the Snake (2018)* for electric guitar, electronics, video and coffee / 137 Arturo Corrales Riff (negro) (2017)* for electric guitar, digital voices and electronics

19/91 + ELECTRIC PRIMITIVO improvisation

** first performance * first Polish performance Aleksandra Kaca – see page 48

/ Tuesday / 22 September / 22:30 composers Teoniki Rożynek Born in 1991 in Cracow, she currently lives in Warsaw. She has graduated from the composition class of Krzysztof Baculewski at the Fryderyk Chopin University of Music in Warsaw. She has par- ticipated in composition masterclasses notably at the Donaues­ch­ inger Musiktage (2016), SYNTHESIS in Radziejowice (2017), and Summer Courses for New Music in Darmstadt (2018). She writes instrumental, electroacoustic, and electronic music. Her works have been presented at national and international festivals including Warsaw Autumn Festival, Musica Electronica Nova, Sacrum Profanum, Unsound, PLATO in Ostrava, Contain- erklang, and Bendigo International Festival of Exploratory Music. She writes music for films (notably Jagoda Szelc’s Tower. A Bright Day, Calro Sironi’s Sole, Arkadiusz Biedrzycki’s The Weak, winner the Best Music award at the 2019 Teatroteka Fest), theatre (Marta Górnicka’s­ Hymn to Love, Best Music award at the 10th Divine Comedy festival in Cracow; Tomasz Węgorzewski’s Novem- ber, commended by the Artistic Committee of the Live Classic Festival), and performances (Katarzyna Kozyra’s Chorus from 138 \ the The Ark of Covenant).

Selected works: bilocation for amplified piano, two pianists and sampler (2015), wall for amplified violin, amplified cello and electronics (2015), T.R.I.P. for tape (2015), halocline II for two accordions, bass accordion and sampler (2016), nox for amplified string orchestra (2016), string quartet for prepared and amplified string quartet (2016), multiple 1 for amplified contrabass clar- inet, percussion, piano and violin (2017), can you hear colors? for amplified bass flute, amplified double bass and electronics (with Monika Szpyrka, 2017), the most satisfying music for two percussionists and electronics (2017), minimal surfaces 1.0 for amplified violin, amplified cello and chamber ensemble (2017), bol for flute, accordion, percussion, electronics and video (2017), deep–frozen_2/17 for accordion, viola and electronics (2017), un- tune for tape (2017), minimal surfaces 2.0 for amplified ensem- ble, electronics and visualisation (2018), Palinopsia for electronics (2018), conveyor belt for bass clarinet, piano, sampler, violin and cello (2018), bulb for contrabass clarinet, percussion, amplified piano, amplified violin, electronics, video, lights and microphones (2019), etude for a door handle mechanism and one spring for tape (2019), cymatics for two soloists, visuals, flute, bassoon, horn, trumpet, trombone and string quartet (with Qba Janicki and Martyna Chojnacka, 2020), il ballo delle ingrate [remake] for am- plified baroque ensemble: harpsichord, theorbo, two violins, two violas, cello and electronics (2020), Float for ensemble (2020). /

Żaneta Rydzewska Composer and clarinettist, she graduated from the High School

of Music and Dance in Cologne in the composition class of Bri- Tuesday / 22 September / 22:30 composers gitta Muntendorf, as well as the composition class of Aleksander Kosciów and Stanisław Moryto and the clarinet class of Wojciech Mrozek at the Fryderyk Chopin University of Music in Warsaw. She has cooperated notably with , Ensem- ble Garage, IEMA, hand werk, Schwerpunkt, AKOM, Delirium, MolOt, Trio Catch, Mivos Quartet, Polish Radio Orchestra, Kwartludium, Electronic ID, Lüneburger Symphoniker, Broken Frames Syndicate, Kollektiv3:6Koeln, and Sinfonietta Pomera- nia. She has benefitted from the compositional consultations of , , Dieter Ammann, Simon Steen-Andersen, Enno Poppe, Alexander Schubert, Michael Beil, Marko Nikodijevic, Caspar Johannes Walter, Carola Bauckholt, Manos Tsangaris, and Mathias Spahlinger, among others. She has participated in the Lucerne Festival Academy Composers’ Sem- inar as well as the Donaueschinger Musiktage Next Generation programme (2015–18). Her works have been featured at interna- tional festivals including the Lucerne Festival, Wittener Tage für Neue Kammermusik, Acht Brücken, Tampere Biennale, Warsaw Autumn, Ad Libitum, Korvat auki Helsinki, ON-­Cologne, High Noon Musik 2000+ in Constance, Cluster in Lucca, AvantGarten / 139 in Liedberg, Sanatorium of Sounds, Warsaw Musical Meetings, and New Waves in Gdańsk. Her scholarships include the in Co- logne, Polish Ministry of Culture and National Heritage’s, Young Poland programme, the Marshall of the War­mian–Masurian Voivodeship, and the Dean of the Fryderyk Chopin University of Musical in Warsaw. She has chaired the Youth Circle of the Polish Composers’ Union between 2016 and 2018, and is now a mem- ber of its Board. She has won the 2nd Prize at the Patri Patriae International Composition Competition in Katowice and other awards, 3rd Marek Stachowski National Young Composers Com- petition in Cracow, AKOM Ensemble in Rotterdam, 7th Zyg­munt Mycielski Composition Competition in Warsaw, “When I Think About Berio…” National Composition Competition in Wrocław, and the Stanisław Moniuszko Composition Competition in Gdańsk.

Selected works: Miniature for clarinet and piano (2007), Trio for clarinet, bass clarinet / cello and piano (2009), Tale for clarinet (2010), Metamorphoses for accordion (2011), Barcarolle for vio- lin, clarinet and piano (2012), Toccata for piano (2013), Though for oboe and piano (2013), You Who Wronged… for mezzo- -soprano and piano (2013), SynEsthESiA for accordion (2014), WINDows for E-flat clarinet (2014), Elegy for clarinet and or- chestra (2014), Close and Distant for alto and string orchestra (2015), Der verlorene Berg for accordion (2015), Les mots se mo- quent de nous… for accordion and string quartet (2015), MorE for instrumental ensemble (2015), Fydihom for instrumental ensemble (2015), 5/3 for string quartet (2015), I Am d’Arc for so- prano and orchestra (2015), Winterwald for clarinet, accordion Tuesday / 22 September / 22:30 composers and percussion (2015), Gestern ist sie von mir gegangen… for bar- itone and piano (2015), Hidden for clarinet, accordion, viola and percussion (2016), Folla for viola and accordion (2016), String Quartet (2016), A Complaint for soprano, clarinet, horn, piano and percussion (2016), IN for string orchestra (2016), Am Schei- deweg for accordion and harpsichord (2016), Rose for symphony orchestra (2016), alone I for clarinet, violin, piano and percussion (2017), after all for alto saxophone and piano (2017), Torrent for alto saxophone, accordion, viola and electronics (2017), Tagtraum for clarinet and accordion (2017), Concerto for clarinet and or- chestra (2017), Dauer for clarinet and electronics (2017), spit it out for flute, clarinet, violin, viola and cello (2018), mono for flute, viola and harp (2018), under for clarinet, cello and piano (2018), underneath for flute, clarinet, violin, viola, cello and objects (2018), so forth for viola, electronics and video (2018), so forth and so forth for clarinet, electronics, video and lights (2018), bin- aural beats for symphony orchestra (2018), circles for accordion (2018), relaxation music for chamber orchestra (2018), no-body for ensemble, video, electronics and scents (2018), where, theatre 140 \ music for violin, two violas and objects (2019), returns for clari- net and electronics (2019), data processing for chamber ensemble (2019), 3/3 for saxophone, accordion and piano (2019), error for three female performers, objects and electronics (with Teoniki Rożynek and Aleksandra Kaca, 2019), der Kuss, music theatre for children’s choir (2019), sit back and relax for piano, percussion, double bass, electronics and lights (2019), Double Concerto for clarinet, percussion and orchestra (2020), don’t look for two vio- lins, accordion, piano, percussion and electronics (2020).

Ultimate errors compilation is an improvisation for three female performers, objects (includ- ing liners, a fork, and sugar), instruments and live electronics. The work is divided into four sections. The first section is based on short hiss-like sounds with no transformations. The second is a rhythmisation of hisses and gradual introduction of live electronics. The third section brings the sound transformations to a climax, while the fourth section brings a drone note, with the gradual switching off of effects included in the Max/MSP en- vironment plugins. Aleksandra Kaca, Teoniki Rożynek, Żaneta Rydzewska

/ Emilio Guim Born in and based in Switzerland since 2014, he studied jazz fusion at the Musicians Institute (Los Angeles), sound engi- neering at Los Angeles Recording School, obtained a Bachelor of

Fine Arts from York University (Toronto), and a Master of Music Tuesday / 22 September / 22:30 composers degree in Music and Art Performance from the High School of Music in Lucerne. His main focus is on interdisciplinary practice of arts. His work combines multimedia performance, choreo- graphed movement, concert music, electroacoustics, and music theatre. Besides composition and performance, his interests also include Max/MSP programming, sound design, music for dance theatre, and sound engineering. He has released four albums of original compositions with his jazz fusion band Lullaby North, toured with different ensembles through Europe and America, wrote music for choreographies, film and TV, and produced many albums in genres from rock to avant-garde. He has been invited to teach masterclasses at the In- stitute of Arts of Ecuador and the University of Arts of Bratislava. Since 2017 he has been teaching at High School of Music in Lu- cerne at both the Music and the Visual Arts and Design schools in the field of interdisciplinary art. He has received the Dr. Peter Zaparinuk Memorial Award from York University for outstand- ing achievement in contemporary music composition (2012), the Proyecto Discográfico Binacional Award from the Ecuador Ministry of Culture for promising Ecuadorian composers (2008), / 141 and was awarded the Kompositionsatelier-Berlin from the city of Zurich (2017). He is the artistic director from Ensemble of Nomads, and also works often with different ensembles across Switzerland, such as Vortex Ensemble (Geneva) and EW-4/ Arte Quartett (Basel), among others.

Selected works (since 2015): Stellen, Schichten, Lagern, per- formance for eight performers (with Binha Haase, 2015), Khora, music for a choreography by Davidson Farias (2015), They Are Coming, Waves, audiovisual performance for eight musicians (2015), Zum Wohl for electric guitar, piano, percussion, violin, video and electronics (2015), The Principle of Change for electric guitar, piano and electronics (2015), The Consequence of Change for electric guitar, piano, violin, percussion and electronics (2016), Miraging for electric guitar, piano, video and electron- ics (2016), Burial of Days for electric guitar and piano (2017), Raised by Wolves for electric guitar, piano, tenor saxophone, vi- olin, percussion and electronics (2017), Speaking of Which for electric guitar, piano, video and electronics (2017), The Weakest Force of Nature for tenor saxophone, alto saxophone, dancer and electronics (2017), South and North for tenor saxophone, alto saxophone, video and electronics (2017), To live all days at once for tenor saxophone and electronics (2018), Lies the Snake for electric guitar, electronics, video and coffee (2018), You Had to Rename Everything, video work for flute and electronics (2018), Spark for piano, electric guitar, percussion, video and electronics (2018–19), Deaf Ground for electric guitar, cello, viola, violin and electronics (2019), Hangman’s Chorale for clarinets, two percus- sion players and electronics (2019), Liquid Mountain for electric guitar, table-top guitar, sampler, synthesizer, three computers, Tuesday / 22 September / 22:30 composers video and electronics (2020).

Lies the Snake This audiovisual composition takes its aesthetics from 1990s grunge rock and MTV culture. The video projection shows the two performers in their daily routine of drinking coffee through thirty days, while the distortion from the electric guitar and the live electronics transfer into the visuals by eventually re- organising its elements into a controlled chaos. Emilio Guim

/

Arturo Corrales – see page 115

Riff (negro) The play features the electric guitar as I dream of it: using a big, fat distortion, as well as the haunting and percussive rhythms of rock 142 \ and metal. The electronics also produce a sonority that builds a second kind of distorted, alternative and virtual electric guitar that enters into dialogue—and struggle—with the real one. The duel and exchange of these two instruments will produce an obsessive and crude play, where metal-like riffs, phrases, and clichés invade contemporary music. As in other recent pieces of mine, electronics will be treated as another real instrument in the band, and the aim of programming is to give an interface that can be played and interpreted with the same freedom as the in- struments. The “lyrics” of the music—and the pitches of the guitar—come from a monologue in the movie The Network (1976), in which the fateful words of a sinister businessman become unfortunately prophetical for our time: “We no longer live in a world of nations and ideologies … The world is a college of corporations, inexora- bly determined by the immutable bylaws of business. The world is a business … It has been since man crawled out of the slime.” Arturo Corrales

/

19/91 Founded in 2019, this trio features Aleksandra Kaca, Teoniki Rożynek, and Żaneta Rydzewska who met in 2014 during their composition studies at the Fryderyk Chopin University of Mu- sic in Warsaw. In 2015–18, they cooperated as the composers’ group gen~.rate (with Rafał Ryterski), producing modern music concerts, including the EMBODY polysensory show at the Nowy Theatre in Warsaw. Their debut improvisation project, ERROR, was featured at Containerklang in Cologne, the Ad Libitum fes- tival at the Ujazdowski Castle Centre for Contemporary Art, and Tuesday / 22 September / 22:30 composers the Warsaw Sanatorium of Sound at the SPATiF club in Warsaw.

/

ELECTRIC PRIMITIVO Based in Switzerland, composers and performers Arturo Cor- rales (Geneva) and Emilio Guim (Zurich) met while working in different projects with Vortex Ensemble. Their affinity for con- temporary music and their versatility for music styles both as composers and performers, led them to create this programme involving electric guitar, sound design, live electronics, light de- sign, music theatre, and video projections. Both Arturo and Emilio grew up listening to among other styles. This program shows one fresh way in which con- temporary music has expanded to incorporate rock in an organic way. With electricity in the duo’s DNA, their sound can be mas- sive, distorted and aggressive, but can also go for the subtleties of the almost inaudible. They go from completely to highly written music, from graphical or conceptual scores to pages and pages of difficult and complex riffs; from video inter- / 143 action to absolute music, everything filled with tons of blasting energy, getting invariably a wonderful return from the audience, who ends up literally electrified after every concert.

Wednesday / 23 September / 19:30 / 22:30 Wednesday / 23 September / 19:30 Witold Lutosławski Polish Radio Concert Studio

Pia Davila soprano

EUROPEAN WORKSHOP FOR CONTEMPORARY MUSIC

Rüdiger Bohn conductor

146 \

Partner of the concert: Society of Authors ZAiKS

The Polish-German new music workshops with the participation of the European Workshop for Contemporary Music, a joint-venture of Warsaw Autumn and Deutscher Musikrat, will take place on 16–22 September 2020 at the Fryderyk Chopin University of Music (on 16–17 September, the workshops will be run by the musicians of ). Wednesday / 23 September / 19:30

Oliver Schneller Diastema (2001–2002)* for 14 instruments

François-Bernard Mâche Le son d’une voix (1963) for ensemble

Teoniki Rożynek / 147 Float (2020)** for instrumental ensemble (Warsaw Autumn commission with the support by Society of Authors ZAiKS)

José María Sánchez-Verdú Paraíso cerrado II (2012)* for soprano and chamber orchestra to poems by Ibn Zamrak

** first performance * first Polish performance Oliver Schneller Born in 1966 in Cologne, he grew up in Africa, Europe, and Asia. Having completed his studies in musicology and political science

Wednesday / 23 September / 19:30 composers at the University of Bonn, he worked at the Goethe Institut in Kathmandu, Nepal (1990–91), on a project to support and sustain local music traditions. In 1994 he moved to the United States, where he studied composition at Boston’s New England Conserv- atory, and later with Tristan Murail at the of New York, where he obtained his doctorate in 2002 for a disser- tation on music and space. At the City University of New York he designed and expanded the CUNY Computer Music Studio. In 2000–1 he stayed in Paris, taking part in IRCAM’s composition and music informatics courses. As assistant to Tristan Murail, he taught composition and computer music at Columbia. He also organised the “Lachenmann in New York” Festival in 2001. Of music importance to his artistic development was attending mas- terclasses conducted by Salvatore Sciarrino, Jonathan Harvey, Bri- an Ferneyhough, George Benjamin, and . His music has been performed at international festivals such as the Paris Agora, Brussels Ars Musica, Musica Strasbourg, Paris- ian Présences and Tremplins, Wittener Tage für Neue Kammer- musik, MaerzMusik and Ultraschall in Berlin, Les Musiques in Marseilles, musique action in Nancy, Alternativa Moscow, ICMC International Computer Music Conferences in Singapore and 148 \ Gothenburg, Musicacoustica in Beijing, South Africa’s Indaba, Tanglewood Music Festival, 2000, as well as at Wash- ington’s Kennedy Center as part of the Millenium Stage Series, by such groups as Ensemble Modern, Ensemble intercontemporain, Musikfabrik, Ictus, Percussions de Strasbourg, Speculum Musi- cae, Court-Circuit, Mosaik, Kammerensemble Neue Musik Ber- lin, Ensemble Courage, Antares, the Tanglewood Music Center Orchestra, and St. Luke’s Chamber Ensemble, among others. His scores are published by Edition C.F. Peters, and his works have been released on CDs by Mode Records, , Hathut, Telos, and CPO. As a saxophonist Oliver Schneller has performed in George Rus- sell Big Band, the Youth Symphony under , and also as a soloist in ’s Red Forecast with Tan- glewood Music Center Orchestra. He has appeared with many jazz and improvised music ensembles in Cologne, Amsterdam, Boston, and New York. In 2009–10 he taught composition at the State University of Mu- sic and Performing Arts (HMDK) in Stuttgart. In 2013 he was a curator for Berlin’s MaerzMusik festival. He taught composition at the Incontri Institute for New Music at the Hanover University of Music, Drama and Media, and was the head of that institute (2012–15). In 2015 he was appointed professor of composition and director of the Eastman Audio Research Studio (EARS) of the Eastman School of Music in Rochester, New York, where he lives with his wife Heather O’Donnell (a pianist) and daughter. In the autumn semester of 2018/2019 he taught composition at the Technical University of Berlin, and since 2019 also at the Rob- ert Schumann High School of Music Düsseldorf.

Oliver Schneller is continually preoccupied with all aspects of in- Wednesday / 23 September / 19:30 composers tercultural relations in music. He has headed and curated many projects dedicated to this subject.

Selected works (since 2005): Die unendliche Feinheit des Raumes, “theatrum sonorum” for organ, horn, percussion, tuba, eight speakers and video projection (2005), Turbulent Space for recorder and live electronics (2005), String Space for violin, viola, cello and live electronics (2005), This is What I Am Seeing Here for clarinet, violin, cello and piano (2005), Clair/Obscur for sev- en instruments and live electronics (2005–6), Stratigraphie I for six instruments and six speakers (2005–6), Engine for accordion and five speakers (2006), Twilight Dialogues II for flute, clarinet, viola and piano (2006), Track & Field for piano, four speakers and video (2006–7), Mobile Resonance for eight instruments and live electronics (2006–7), Resonant Space for two pianos and two percussions (2007), Voice Space, installation (2007), Cell Cycle, electronic music (2007), Wu Xing, installation (2007), Anaclasis for recorder, trumpet, shō, piano and cello (2008), La couleur du son, installation (2008), The Path for clarinet, accordion, percussion and live electronics (2008), Musica ficta for flute, oboe, clarinet, piano, percussion and electronics (2008), Paysage / 149 sauvage for trumpet, trombone, percussion and live electron- ics (2008–9), Rugged Space for piano, accordion and live elec- tronics (2009), Jagged Landscape for flute, accordion, piano and cello (2009), Scattered Scene for kalimba and live electronics (2009), Abendlied for voice, violin, cello and clavichord (2009), Stratigraphie II for six instruments and electronics (2009–10), Wu Xing/Fire for orchestra (2009–10), Kagura for flute and chamber orchestra (2010), Tensegrity Touches for piano, virtual instru- ments and video (2010), Blips&Ifs for flute, clarinet, piano, violin and cello (2010), Open Space for organ and electronics (2010), Wu Xing/Metal for orchestra (2010–11), Dreamspace for ensem- ble and orchestra (2011), Cyan for two pianos and two percussion (2011), Sunday in the Park for accordion (2011), Anser indicus for accordion, bass clarinet, violin, viola and cello (2011), Mu- gen for nō singer and electronics (2011), Amber for two string (2011–12), Transatlantic Jukebox for piano and cham- ber orchestra (2011–12), Haiku for violin (2012), Wu Xing/Wa- ter for orchestra (2013), Alice Blue for six instruments and Nord Stage synthesizer (2013), Introjections for string quartet (2013), Superstructure II for percussionist and electronics (2013), Tinder for tenor and piano (2013), Superstructure for six percussion- ists (2013), Transience for , gayageum, janggu and (2013), Passagio for four voices and four saxophones (2013), Tropes for orchestra (2014). Diastema The spine of this piece is an irregularly serrated shape formed by the succession of 22 interconnected points. Each point on this

Wednesday / 23 September / 19:30 composers jagged line represents the fundamental of a chord and the spatial distance between the points corresponds to the intervallic dis- tance between the fundamentals. Many structural parameters are scaled to this shape: the tempi and proportions of the piece, the density of polyphonic activity, even the rhythmic and melod- ic patterns that weave together the often fragile fabric between the 22 different chords built on these fundamentals. Hence a fixed basic succession of intervals permeates and informs the piece on many levels: the interval of distance in space or time, of pitch, of densities, of sound colour change, of pulse-presence, continuity and discontinuity. Throughout the piece appear a number of im- mutable objects that by virtue of their recurrence orient the pro- gression of the form in memory. In this world, there are two times. There is mechanical time and there is body time. The first is as rigid and metallic as a massive pendulum of iron that swings back and forth. The second squirms and wriggles like a blue- fish in a bay. The first is unyielding, predetermined. The second makes up its mind as it goes along. …This is a stretch of nerve fibers: seemingly con- tinuous from a distance but disjointed close up, with microscopic gaps be- tween fibers. Nervous action flows through one segment of time, abruptly stops, pauses, leaps through vacuum, and resumes in the neighbouring segment. …So tiny are the disconnections in time that the gaps between 150 \ segments are practically imperceptible. After each restart of time, the new world looks just like the old. (Alan Lightman, Einstein Dreams, 1993) Oliver Schneller

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François-Bernard Mâche – see page 33

Le son d’une voix The sound of a voice is richer and truer than what that voice says. Here, it is the voice of Paul Éluard in Poésie ininterrompue II, which I have turned away from the poetry, attempting to make him confess a music that has since become more mine than his. Just as I did in 1959 with Sappho (Safous mélé) and in 1962 with Seferis (La peau du silence), I have thus chosen as model a spo- ken text whose sound qualities only—i.e., with the exclusion of the verbal meaning—supply an excuse for a differently faithful instrumental transcription. I have used sonograms to analyse the minutest articulations of the voice. Stemming from my conviction that music is more than a “lan- guage,” and driven by my desire to exorcise the old metaphor of “musical language,” linked to an abusive humanism, I have operat- ed a total anamorphosis of the text, setting it literally “to music” so that nothing poetic—in the technical sense of the word—remains. Le son d’une voix, first performed in Warsaw in 1964 by Kon- stantin Simonovic, is a brief essay that belongs more generally to my research driven by a conviction that the deepest sense of mu-

sic is to map the entire sound reality. The most beautiful human Wednesday / 23 September / 19:30 composers language—here, that of Éluard—thus belongs amongst all other sounds of nature and nothing more. Published by Éditions Durand, the work has a duration of ca. 8 minutes. François-Bernard Mâche

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Teoniki Rożynek – see page 138

Float [English for resting, drifting or gliding on the surface] A Warsaw Autumn festival commission. Teoniki Rożynek

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José María Sánchez-Verdú Born in 1968 in Algeciras, Andalucia, in 1986–94 he studied composition, orchestral conducting, and musicology at the Real / 151 Conservatorio Superior de Música and the Universidad Autóno- ma, both in Madrid. In 1992 he learned composition from in Siena’s Accademia Chigiana, and in 1996–99 devel- oped his composition technique with at Frankfurt’s High School of Music and Performing Arts (on scholarships from DAAD and La Caixa Foundation). In 1997 he was a composer-in-residence at the Spanish Royal Academy in Rome. His numerous accolades and scholarships in Spain and abroad include the Cristóbal Halffter Composition Prize (1994), SGAE Spanish Society of Authors and Publishers Award (three times in 1996 and 1997), composer prizes of Ciu­tat d’Alcoi and Ciudad de Burgos, INAEM/Colegio de España first prize (1998), Junge Deutsche Philharmonie’s first prize (1999), Ernst von Siemens Foundation’s Förderpreis in Komposition (2000), State Award of the Spanish Ministry of Culture (2003), and Antara Prize of the Lima International Contemporary Music Festival (2007), Since 2001 Sánchez-Verdú has been a professor of composition at the Robert Schumann High School of Music in Düsseldorf; in 2008–19 he also taught at the Conservatorio Superior de Música de Aragon (in Zaragoza). He publishes pa- pers, lectures and teaches composition at many European insti- tutions, including Universität der Künste Berlin, Universidad Complutense in Madrid, Cátedra de Composición Manuel de Falla in Cádiz, Salzburg Mozarteum, and High School of Arts in . He has been commissioned to write music by Spanish, German, and Italian institutions and organisations, as well as the Prague Spring International Music Festival and New York’s Lincoln

Wednesday / 23 September / 19:30 composers Center, the Biennale für Neue Musik in Hanover (for 2000), operas for Staatsoper Berlin (2005) and Madrid’s Teatro Real (2007). His works have been performed by, among others, Ensemble Modern, Musikfabrik, Ensemble Mosaik, ensemble recherche, KNM Berlin, Kaleidoskop Solistenensemble, the Ös- terreichisches Ensemble für Neue Musik, Konzerthaus Orches- ter Berlin, Rundfunk-Sinfonieorchester Berlin, Bavarian Radio Symphony, Hamburg Philharmonic, Stuttgart Radio Orchestra, Finnish Radio Symphony (FRSO), Orchestre de la Suisse Ro- mande, Luzerner Sinfonieorchester, Orchestra Sinfonica di Milano Giuseppe Verdi, and Orquesta Nacional de España, at numerous festivals such as Ultraschall Berlin, ECLAT Stuttgart, MaerzMusik Berlin, , Musica Viva Munich, Ars Nova Donaueschingen, Schleswig-Holstein Musikfestival, Beethoven Festspiele, musicadhoy Madrid, Wien Modern, Salz- burg Biennale, Musica Nova Helsinki, Ars Musica Bruxelles, War- saw Autumn, and Venice Biennale. Sánchez-Verdú’s stage works (ATLAS, GRAMMA, AURA, El viaje a Simorgh, Libro de las es- tancias, Alegorías de la luz, and others) have been staged notably at the Staatsoper Berlin, Deutsche Oper Berlin, Luzerner Theat- er, Munich Biennale, Teatro Real Madrid, Teatro de la Zarzuela, 152 \ Theaterhaus Stuttgart, Teatro Colón in Buenos Aires, as well as in Hamburg, Venice, Granada, Buenos Aires, Mexico City, and Cairo. He is active in the music life of Spain, Italy, Switzerland, Austria, Germany, Belgium, Finland, the Netherlands, Argentina, , Peru, and Egypt as a conductor of contemporary music orchestras and ensembles. His works have been released under such labels as , Col-legno, Verso, Columna Musica, and Harmonia Mundi. The composer lives in Berlin.

Selected works (since 2010): for orchestra (2009–10), Hekkan IV for chamber orchestra (2009–10), Qualia (Jardí blau) for soprano, baritone, clarinet, choir, orchestra and lights (2004–10), Elogio del tránsito for bass saxophone, auraphone and orchestra (2010), Hekkan III for guitar quartet (2010–11), Scrip- tura antiqua for five vocalists (2010–12), Oxide for saxophone, electric guitar, percussion and piano (2011), Exitus for string trio, tape and auraphone (2011), Memoria del agua for cham- ber ensemble and orchestra (2011), Jardín azul for accordion and piano (2011), De processione mundi for oboe and ensemble (2010–11), Castillo interior for five voices, baroque violin, theor- bo and harpsichord (2012), String Quartet no. 9 Paraíso cerrado (2012), Transitus for bass saxophone (2012), Paraíso cerrado II for soprano and orchestra (2012), Concerto grosso for strings (2012), Atlas (Islas de Utopía), music theatre (2012–13), Memoria del es- pejo for trombone and orchestra (2013), Memoria del blanco for accordion and orchestra (2013), Zuria for accordion (2013–14), Khôra II for saxophone quartet (2014), Territorio interior (I) for violin, cello and piano (2014), Libro de Leonor for seven voices and choir (2014), String Quartet no. 10 Barzaj (2014–15), Libro

del jardín de arena for ensemble (2015), Butes, drama in musica Wednesday / 23 September / 19:30 composers for choir and orchestra (2015), Il giardino della vita, music thea- tre (2016), KEMET (Schwarze Erde / Tierra negra) for bass flute and chamber orchestra (2016), DESHERET (Rote Erde / Tierra roja) for orchestra (2016), KEMET (Schwarze Erde) for bass flute and harpsichord (2016), ARGO, music theatre (2016–18), Ter- rains vagues for five voices, oboe, clarinet, bass clarinet, alto sax- ophone and bassoon (2017–18), White Silence Bar for ensemble (2018), Memoria del rojo for orchestra (2018), SHEBA for cham- ber orchestra (2018), Inferno for four voices and ensemble (2019), La chute de la maison Usher for orchestra, music for a film by Jean Epstein (2019), The Haunted Palace for orchestra (2019).

Paraíso cerrado II (Shut Paradise) Few Spanish composers today have a fairer claim to the pen name “Semionauta,” a navigator on literary journeys (coined by Nico- las Bourriaud) than José M. Sánchez-Verdú. From Italian poetry of the 20th century (Montale, ) to the Syrian-Leba- nese Adonis; from Omar Khayyam to the mystics of the Renais- sance – both sculptural and philosophical, they come together in a universe of their own, populated by fragmentary resonances / 153 and echoes of different traditions, represented with indisputable attraction and energy. Ever since the late 1990s, the Arab culture – words, image, and sound – has fascinated Sánchez-Verdú. Paraíso cerrado II reflects this attraction, on the one hand, by linking it to Granada, with the figure of Soto de Rojas from the somewhat earlier Paraíso cerrado [String Quartet no. 9], premiered in Hanover in June 2012. The piece summarises some of the creative aspirations of the composer from Algeciras, whose studies in the city of the Al- hambra – if we recall his early Cuarteto nazari (1992–93) – are not unrelated to this interest. Now, it is the poetry of Ibn Zamrak – from the Mirador de Daraxa (Daraxa Lookout) to the Patio de los Leones (Lion Court- yard) and the Sala de las Dos Hermanas (Hall of the Two Sisters), so eminently present in the Granada palace, that guides the mu- sic of Sánchez-Verdú with regard to its semantic content, its epigraphic aspect and the aesthetic coordinates that determine a comprehensive understanding of the architectural complex, a true “architecture of texts,” as José Miguel Puerta Vílchez has called it. In five movements – the third of which, Memoria del agua dispenses with the soprano voice and functions as the for- mal axis of the polyptych – Paraíso cerrado II is at the same time a possible musical guide through the twists and turns of the court space, totally alien to the 19th-century visions of the manners and customs of “Alhambrism” and exoticism; a nautical chart for the roots of the composer’s poetry. Suffice it to mention the syn- esthetic consideration of chromatic perception (Memoria del rojo, in this case, the altitude of the Sun) found in his Kitab al-alwan

Wednesday / 23 September / 19:30 composers (Libro de los colores – Book of Colours, 2000–5); the interrelation- ships between speech, writing and graphical signs (Palacios de escritura – Palaces of Writing); the conceptual seeds of his work GRAMMA (Jardines de la escritura / Garten der Schrift – Gardens of Writing), premiered in 2006; the spatial dimensions of sound and the structural conditions of its apprehension (Geometria azul – Blue Geometry). Or, to quote Sánchez-Verdú himself: …a musical vision of the Alhambra’s tilework in particular, and of the Arab art in general. Symmetrical structures, endless lines, stylised roses form- ing a musical surface. Like the Arab master facing the surface of his walls, the composer conceives the ornaments and the use of very complex systems to completely fill all the available space. In some lectures I have called it “Praise for the surface.” My great favourite Pablo Palazuelo is not far from this geometrical vision of material and perception in our consciousness. Finally we come to the Memoria del jardin feliz (Memory of the Happy Garden), the garden area, a combination of nature and artificiality, a space for reflection and enjoymentPaisajes ( del placer y de la culpa – Landscapes of Pleasure and Blame, 2003); QUALIA (Jardi blau – Blue Garden, 2004–10). It has also been, since the antiquity, a metaphor for the mental space of intimate discovery and transcendent initiation. The fierce interweav- 154 \ ing of these aesthetic references in their possible acoustic rep- resentation; the innovative depth of the handling of instruments; the freedom and wealth of the vocal text; the desire to explore the dynamic thresholds, close to a silence but laden with expec- tation, and the unexpected interplay of subtly coloured rhythmic structures in the accentuation that Sánchez-Verdú demonstrates in his work. All these are aspects of the music that the listen- er has to discover for himself, without the need for a lengthy commentary… Germán Gan (2012) Paraiso cerrado II for soprano and chamber orchestra (on poems by Ibn Zamrak)

Ibn Zamrak (1333–1394) Wednesday / 23 September / 19:30 composers Poetic epigraphic fragments on the Alhambra (Granada)

1. Memoria del rojo [Memory of the Red] “wala gãliba illa Allah” [There is no victor but God] Nasrid coat of arms repeatedly found all over the Alhambra “La luna envidia mi diadema, los astros mis trazas desean” [The moon envies my tiara, the stars desire my designs] Tower of the Children

2. Palacios de escritura [Palaces of Writing] “El cielo de cristal alli muestra maravillas que en la pagina de la belleza escrita quedan” [The crystal sky there shows wonders that remain on the page of written beauty] Lindaraja Lookout

4. Geometría azul [Blue Geometry] “Esta casa es un paraiso eterno” [This house is an eternal paradise] Courtyard of the Arrayanes (south side) / 155 This inscription was destroyed when the Palace of Charles V was built.

5. Memoria del jardín feliz [Memory of the Happy Garden] “Este es el palacio de cristal” “No estoy sola, pues desde aqui contemplo un jardin admirable” [This is the glass palace I am not alone, for from here I can see a magnificent garden] Entrance arch to the Lindaraja Lookout “Jardin yo soy que la belleza adorna: sabras mi ser si mi hermo- sura miras” [I am the garden that beauty adorns: you will recognise my be- ing when you contemplate my beauty] Hall of the Two Sisters (Palace of the Lions) “Agua y marmol parecen confundirse” [Water and marble seem to blend] “Es un amante cuyos párpados rebosan de lágrimas” [He is a lover whose eyes are full of tears] of Lions (Palace of the Lions)

/ Pia Davila Soprano; she studied with Jörn Dopfer at the Hamburg University of Music and Theatre (HfMT), graduating with honours in 2018. Wednesday / 23 September / 19:30 performers She focuses on songs, but also performs in operas and . She is particularly interested in contemporary music: the classical music, art and tradition of and for today. She is constantly looking for new ideas and exciting collaborations. Pia Davila has won prizes in national and international competi- tions, and has participated in productions with the Dutch Nation- al Opera, Deutsche Oper Berlin, Theater Bremen, and Staatsoper Hamburg.

EUROPEAN WORKSHOP FOR CONTEMPORARY MUSIC The ensemble evolved out of the former Polish-German Ensem- ble Workshop for Contemporary Music, initiated in 2003 by the German Music Council (Deutscher Musikrat) and the War- saw Autumn festival. The workshop has two main objectives: firstly, to support young musicians interested in practising spe- cial contemporary music techniques and familiarising themselves with the contemporary repertoire; and secondly, to promote cul- tural exchange and artistic integration between the two countries as well as cooperation with the entire musical Europe. The first workshop in 2003 focused on a meeting of the Kwart- 156 \ ludium ensemble from Warsaw with young German musicians. After many days of rehearsals, the ensemble, led by Rüdiger Bohn, appeared in concert at the Warsaw Autumn festival, presenting contemporary works from Poland and Germany. The performance, held at the Polish Radio’s Witold Lutosławski Concert Studio, featured premieres of works written especially for the occasion. The ideas of first performances of works by young composers from the two countries was continued in 2006 and 2007, notably thanks to commissions from the German Radio (Deutschlandfunk). New and lesser-known works have thus become part of the ensemble’s repertoire. Today its repertoire includes works by Helmut Lachenmann, Wolfgang Rihm, Mat- thias Spahlinger, André Werner, Iannis Xenakis, and Witold Lu- tosławski as well as Joanna Woźny, Aleksander Szczetyński, and Lubava Sidorenko. The ensemble appeared at the Ultraschall Festival in Berlin and the international composers’ workshop Buckower Begegnungen, Contrasts Festival in Lviv, Milano Musica, Baltic Sea Festival in Stockholm, Tonlagen Dresden, Forum Neuer Musik in Cologne, and the Polish-German modern neighbourhood festival organ- ised by the German Embassy and the Goethe Institute in War- saw. At the invitation of the Berlin Academy of Arts, in October 2011 it presented works by young Polish composers as part of the Blickwechsel project. In August 2014 the ensemble took part for the first time in the In- ternational Summer Courses for New Music in Darmstadt. In 2015, during rehearsals at the architecturally unique Kolumba Kunstmuseum in Cologne, the musicians reacted to diverse spa- tial characteristics of the museum, developing an idiosyncratic concert dramaturgy. Wednesday / 23 September / 19:30 performers After fruitful cooperation with the Cracow Academy of Music in 2013–15, in 2016 and 2017 the European Workshops took place at the Academy of Music in Łódź. In addition to concerts in Łódź and Warsaw, the EWCM also appeared at the Luxembourg Phil- harmonic. In 2018 and 2019 the European Workshops were held at the Music Academy in Wrocław. This year the EWCM will be hosted by the Chopin University of Music in Warsaw.

Rüdiger Bohn Born in Lübeck, he graduated with distinction from the High School of Music and Dance Cologne and the Robert Schumann High School of Music in Düsseldorf, where he studied piano with Günter Ludwig and David Levine as well as conducting with Volker Wangenheim. He began his career as a concert pianist. Af- ter attending masterclasses with , Sergiu Celi­ bidache, and , in 1988 he became the chief conductor of the Tübingen Sinfonietta, with which he worked until 1996, also collaborating with Brussels’ Théâtre de la Mon- naie, as well as theatres in Basel and Lübeck. In 1997–2007 he was the Artistic Director of the Contemporary Opera in Berlin, where he premiered works by Henze, Kagel, Battistelli, Feldman, / 157 Reimann, Hölszky, Martin, Sciarrino, Maxwell Davies, Rihm, and Holliger. At the 2002 Munich Biennale he led the German Youth Orchestra in the world premiere of André Werner’s opera Mar- lowe: Der Jude von Malta. Subsequent invitations brought him to Munich, Vienna (Klangforum Wien), and Dijon (Why Note Fes- tival), the ensembles of the Collegium Novum and Neue Musik Berlin, as well as such festivals as Ultraschall Berlin and Venice Biennale. With the European Workshop for Contemporary Music he has appeared many times at the Warsaw Autumn Festival. As an orchestral conductor he has worked mainly outside Germa- ny. He has collaborated with the RAI symphony orchestras in Rome and , Orchestre de Chambre de Lausanne, Orchestre de la Suisse Romande in Geneva, Orchestre Radio-Symphonique du Luxembourg, as well as the orchestra and choir of the Teatro Comunale di Bologna. He has also guest-conducted the Öster- reichisches Ensemble für Neue Musik at the Salzburg Festival, and London’s . He regularly conducts ensembles and orchestras in South Korea (Tongyeong Interna- tional Music Festival, Seoul Philharmonic, and Seongnam Phil- harmonic) and Japan (Next Mushroom Promotion Ensemble, Takefu Festival). Since 2003 he has been the Artistic Director of the European Workshop for Contemporary Music. He is a professor of con- ducting at the Robert Schumann High School of Music in Düssel- dorf, and cooperates with composers such as Beat Furrer, , , Wolfgang Rihm, José María Sánchez- Verdú, and Hans Zender. In 2017 he received the Decoration of Honour for Services to the City of Warsaw. Wednesday / 23 September / 19:30 performers

158 \

Wednesday / 23 September / 22:30 ATM Studio

Barbara Mglej violin Paulina Woś-Gucik violin Martyna Zakrzewska piano Aleksandra Gołaj percussion Alena Budziňáková-Palus accordion, electronics, video 160 \

Przemysław Kunda sound projection

Works: Zoom in/dolly out by Monika Szpyrka, don’t look by Żaneta Rydzewska, Message for the Year of the Metal Rat II by Anna Sowa and Sugar, Spice & All Things Nice by Nina Fukuoka composed thanks to the support by Society of Authors ZAiKS.

The work Isorropía. In search of balance by Martyna Kosecka has been cofinanced by the Minister of Culture and National Heritage’s Culture Promotion Fund within the Composing Commissions programme, implemented by the Institute of Music and Dance. Wednesday / 23 September / 22:30 Feminine Forms

Monika Szpyrka Zoom in/dolly out (2020)** for ensemble and electronics

Żaneta Rydzewska don’t look (2020)** for two violins, accordion, piano, percussion and electronics

Martyna Kosecka / 161 Isorropía. In Search of Balance (2020)** for amplified quintet and electroacoustic layer (Spółdzielnia Muzyczna Society commission)

Anna Sowa Message for the Year of the Metal Rat II (2020)** for two violins, accordion, piano, percussion and electronics

Nina Fukuoka Sugar, Spice & All Things Nice (2020)** for two violins, accordion, piano, percussion and electronics

** first performance Feminine Forms In Polish, grammatical gender—masculine or feminine, among others—is an attribute of such parts of speech as a noun, an ad-

Wednesday / 23 September / 22:30 composers jective, and specific pro-forms as well as participles. The gender of a word may change in translation between languages: “life,” for instance, is masculine in Czech but feminine in Russian, while “air” is feminine in Italian but masculine in French. One particu- lar rule governs the names of professions: these, in Polish, have both feminine and masculine variants, so that “female conductor” and “female theorist” exist alongside “male conductor” and “male theorist.” Generally speaking, there are no and there will never be any rational grounds for evading certain designations or forms on the basis of their gender alone. Also significant is the way Polish verbs inflect for the category of gender. In the past tense, one differentiates between masculine personal and non-masculine; consequently, the Polish equivalent of “were” used when speaking of the once-d i s c r i m i n a t e d - -against female composers or instrumentalists is different from that applicable to the once-p r i v i l e g e d composing or instru- ment-playing males. In the present tense, however, there is no room for such a distinction; accordingly, a single form of verbs like “to compose” or “to perform” pertains e q u a l l y to both fe- male and male musicians. In the original version of this text, as far as grammatical gender 162 \ is concerned, 54 masculine (or masculine personal) forms oc- cur along only 43 feminine (or non-masculine) ones. Six female composers—composeresses—and five female performers—per- formeresses—are engaged in this project, and it is only the latter figures that restore the balance. Błażej Bauer /

Monika Szpyrka Born in Cracow in 1993, she obtained an MMus in composition from Anna Zawadzka-Gołosz’s class at Cracow’s Music Academy, and a BMus in music theory. At present she is a DMA student at her alma mater, and is completing a solo programme at the Roy- al Academy of Music in Aarhus with Juliana Hodkinson, Niels Røns­holdt, and Simon Steen-Andersen. Her works have frequently been performed in concert in Poland and abroad, among others, during the Darmstadt International Summer Courses for New Music, Young Composers’ Meeting in Apeldoorn, Days of Organ Music in Cracow, Musica Electronica Nova in Wrocław, International Festival of Cracow Composers, Ostrava New Music Days, Pulsar Festival in Copenhagen, Pano- rama and RAMA in Aarhus, Festival Aktuelle Musik in Nurem- berg, as well as during Warsaw Autumn fringe events. She has cooperated with ensembles such as Airborne Extended, E-MEX, Orkest de Ereprijs, Kompopolex, Lutosławski Quartet, Ostravská Banda, W/L Duo, and Vocal Federation 6. She has taken part in the workshops of the Donaueschinger Musiktage Next Generation (2016) and SYNTHETIS (2016, 2017), as well as taking individual lessons (during courses) with

such artists as Mark Andre, , Marco Blaauw, Zyg- Wednesday / 23 September / 22:30 composers munt Krauze, Johannes Kreidler, Bernhard Lang, Martijn Pad- ding, Stefan Prins, Rebecca Saunders, , , and Agata Zubel. Monika Szpyrka has obtained a scholarship for outstanding stu- dents from the Minister of Culture and National Heritage (2017), as well as the Sapere Auso scholarship (2017/18).

Selected works: Raster1 for organ (2014), Engram Disintegra- tion for flute, alto saxophone, two percussion and viola (2014), Inert Oscillations for piano trio (2014), Hypnagogic Hallucina- tions for percussion, piano, violin and bass guitar (2015), Line of Delimitation Between Solid and Void for string orchestra and two percussion (2015), Crepe Weave for string quartet (2015), Reversion Sculpture for organ, two positive organs and percus- sion (2015), Irradiation for horn, harp, accordion and viola (2015), Pyrochlore Rotation for percussion, eight double basses and electronics (2016), Cityscape Kraków #5, electroacoustic lay- er (2016), adHuc for female chamber choir (2016), Bug Report for bass clarinet, harp, percussion and cello (2016), Zero Waste Tip 1: Don’t Waste Your Music for sampler (2017), Can You Hear Colours? #1 for bass flute and audio playback (2017), Instrument / 163 Spring Ready-To-Wear 2017 for flute, percussion, accordion, au- dio playback, video and costumes (2017), Count to 10 for two sopranos and 14 instruments (2017), Playing like a… for trumpet (2018), Instrument Fall Ready-To-Wear 2018 v.2 for electric gui- tar, percussion and costumes (2018), Collect, Consume, Repeat for four percussion and audio playback (2018), Useful Statistics for orchestra (2018), No-body for female voice and sampler (2019), TheProblem That Has No Name: 3 for accordion and harpsichord (2019), Are There Hidden Figures? for string quartet, video and electronics (2018–19), TheProblem That Has No Name: 2 for harp and harpsichord (2019), The Problem That Has No Name: 1 for harpsichord and audio playback (2019), Zero Waste Tip 1: Don’t Waste Your Music (and Video) for sampler and wideo (2020), The Sound of Plastic for amplified costume and audio playback (2020), Simple Amplifying Motion for orchestra (2020), Zoom In/ Dolly Out for ensemble and electronics (2020).

Zoom In/Dolly Out Dolly zoom filming technique depends on quickly zooming the zoom lens while the camera dollies (moves) away from the subject. This creates a perspective distortion; the background gets modified, while the foreground remains unchanged. This effect is usually emotionally charged, and is used to represent quick reactions, such as the protagonist having a brainwave, real- ising something, or other important situations. I translated this juxtaposition of two plans into the concept of a piece in which the music material and the female performers’ actions on the stage are related in an analogous manner. Com-

Wednesday / 23 September / 22:30 composers posed specially for the Feminine Forms project. Monika Szpyrka

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Żaneta Rydzewska – see page 139

don’t look The human mind is only capable of absorbing a few things at a time. We see what is taking place in front of us in the here and now, and cannot envisage simultaneously a succession of processes, how inte- grated and complementary. Our faculties of perception are consequently limited even as regards fairly simple phenomena. The fate of a single man can be rich with significance, that of a few hundred less so, but the his- tory of thousands and millions of men does not mean anything at all… (Stanisław Lem, Solaris, trans. J. Kilmartin and S. Cox, A Harvest Book, Harcourt Inc. 1987) Żaneta Rydzewska

/ 164 \ Martyna Kosecka Born in 1989 in Gdynia; composer, conductor, performance artist, experimentalist, and new music researcher. She graduat- ed in composition from Cracow’s Academy of Music (Krzysztof Me­yer’s class) and in orchestra and opera conducting from the Karol Szymanowski Academy of Music in Katowice (class of Szymon Bywalec). She is active as a composer, conductor, and author of texts on contemporary music. Since 2016 she has been one of the artistic directors of the Tehran International Contem- porary Music Festival (TCMF). Her accolades include the 1st Prize of the 5-Minute Opera Inter- national Competition held as part of the 28th Music Biennale in (2015). Her award was a commission to compose an op- era, Klothó – Thread of the Tales, which opened the 29th Music Biennale in Zagreb in 2017. Jan Topolski wrote in dwutygodnik. com: “Kosecka’s music is intense and full of tension through- out. She loves to employ dense textures, sharp harmonies, and garish colours. Her music is a highly original version of post- sonorism.” Martyna Kosecka’s instrumental theatre Umbra for three percussionists and electronics won the Swiss EKLEKTO Ensemble’s competition for composer commissions (2015). Kosecka also received the 2nd Prize in the 4th biennial Krzysztof Penderecki Composers’ Competition held during the 7th Sopot Classic Festival in 2017 (for Orsi for string orchestra) and a prize of the CECIA (Collaborative Electroacoustic Composition with Intelligent Agents) project implemented by the ZKM|Center for Art and Media in Karlsruhe (2019). Since 2019 her music has

been published by Donemus Holland. Wednesday / 23 September / 22:30 composers Her works have been performed both in Poland and abroad, during festivals such as Warsaw Autumn, Cracow’s Audio Art, Ostrava Days Festival of New and Experimental Music, IMPULS, Music Biennale Zagreb, Armel Opera Festival, and Risuonanze – incontri di nuove musiche. In 2013 she founded (with the Iranian composer Idin Samimi Mofakham) the Spectro Centre for New Music, which organises workshops and concerts of contemporary music. Their intense activity largely contributed to the establishment of the Tehran In- ternational Contemporary Music Festival, which is now the larg- est festival of contemporary music in the Near East. In her music Kosecka applies spectral techniques as well as exper- imenting with scales, temperament, microintervals, and the per- ception of time. She frequently applies elements of performance art, combining instrumental theatre with improvisation. She does not mind being called a postspectralist or a neosonorist.

Selected works: Dumka for piano (2006), Starry Night for piano, double bass, clarinet and alto saxophone (2007), Topic: Music of Pressure for tape (2009), Znikomek [Nearunbeen] for alto saxophone (2010), Fragments for clarinet and piano (2010), / 165 Nimbostratus for symphony orchestra (2011), The Length of the Hesitancy Moment. From Thought to Creation, piano trio (2011), Love Scenes for flute, oboe, saxophone, accordion, pi- ano and violin (2012), Cogita! for piano (2012–15), Vaporiza for clarinet, alto saxophone, tenor saxophone and bassoon (2012), ENT1701 for flute, oboe, horn, violin, cello and piano (2012), Haiku for soprano, bass clarinet, bass trombone and percussion (2012), Ábyssos for four clarinets and live electronics (2013), Mythos for cello and four instruments (2013), ImPulsus for in- strumental ensemble (2013), Ápeiros for chamber orchestra (2013), Orsi for string orchestra (2014), Sial for bassoon and piano (2014), Passaggio I for female voice and cello (2014), Ko- chawaya, miniopera for soprano, baritone and 8-piece ensem- ble (2014), Passaggio II for double bass (2015), Akmḗ, scene for female voice and double bass (2015), Umbra, music theatre for three percussionists with electronic media (2015), Nephélēs for piano (2016), Klothó – Thread of the Tales, magic opera in one act (2016–17), Charaktíras for accordion (2018), Ourobóros for in- strumental ensemble (2018), Āzar for saxophone quartet (2018), Enigma I for horn (2019), Concerto for clarinet, multi-percus- sion and string orchestra (2019), Zamharīr: Frozen Timeless- ness for flute, cello, piano and electronics (2019), Isorropía. In Search of Balance for amplified quintet and electroacoustic layer (2020). Isorropía. In Search of Balance presents a fight of carefully selected and meticulously designed groups of spectrums. The musical question over which the com-

Wednesday / 23 September / 22:30 composers poser ponders is how to grasp musical moments in which timbral groups or sound objects with ostensibly opposite qualities can sustain a sounding balance and interact with each other. Is it possible to strike that balance? Or perhaps failure is still in- evitable? Martyna Kosecka

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Anna Sowa Born in 1987, she grew up in Tymbark, . She stud- ied with, among others, Szábolcs Esztényi and Elżbieta Alek- sandrowicz, later also in Zygmunt Krauze’s composition class at the Bacewicz Academy of Music in Łódź (2006–16), major- ing in eurhythmics. In 2014 she studied composition and vis- ualisation with Dietrich Hahne at the Folkwang University for the Arts in Essen (as an Erasmus+ student and later a KAAD scholarship holder). In 2017–18 she obtained a Chinese govern- ment scholarship to continue her studies at the Shanghai Con- servatory of Music. She is currently a Master Special student at 166 \ Basel’s Music Academy (class of Caspar Johannes Walter and Johannes Kreidler). In 2019 she received a Witold Lutosławski scholarship. She has been commissioned to write music by the Society for New Music in Cologne. Her works have been performed during the Musica Moderna sessions in Łódź, Musica Privata Festival in Łódź, Woche Neue Musik in Essen, the concert series ‘_like a Polish sunny day’ at Baselga di Piné, the Nowowiejski Anew Festival in Radom, as part of the BÉTON Brut & Bruits project in Cologne, Festival of Accordion Music in Przemyśl, Festival in Dessau/ Bauhaus, Pergine Festival, Contemporary Composers’ Festival in São Paulo, Dialog series at Basel’s Gare du Nord – Bahnhof für Neue Musik, and Champ d’Action in Antwerp. Anna Sowa’s collaboration with the theatre-and-dance ensemble OFF Harnam has led to their joint projects being presented at the Łódź Music Theatre, at the FRU Festival, Touch the Theatre Festival, and Royal Arcades of Art at Warsaw’s Royal Castle. In March 2013 she created music for Dance Theatre Pro’s production of Jean Genet’s The Maids presented during the Touch the Theatre Festival in Łódź. With Margherita Berlanda and Dorota Jasińska she co-founded the kalakara group for instrumental theatre projects. In her works, Anna Sowa demonstrates an interest in electronics and the idea of syncretic music. With visual artist Xiaole Zhang she has notably created the sound installations Dwelling and Er- wartung presented in Kalbe (Germany) as part of the summer programme Künstlerstadt Kalbe, as well as Receiver Not Found, shown at the contemporary art ruhr (C.A.R.) in Essen as part of the C.A.R. Talente series and during the 5th Piotrków Art Bien-

nale (2019). Wednesday / 23 September / 22:30 composers Sowa is the initiator and co-organiser of the Controlled Festi- val in Radom, member of the Polish Composers’ Union’s Youth Circle, IAWM (International Alliance for Women in Music), and the Polish Institute of World Art Studies. In 2011–17 she taught at the Oskar Kolberg Music Schools in Radom, and in 2016–17 at the Chair of Eurhythmics and Piano Improvisation of the Bace- wicz Academy of Music in Łódź.

Selected works: Variations on the Polish Folk Melody Tym- bark Mazurka for cello (2011), One time… for accordion (2013), Second Time… for two accordions (2014), An… for instrumental ensemble and video (2015), Krawall for orchestra and electronics (2015–16), …nA for five dancers, electronics and video (2016), Pizzicato for two performance artists and electronics (2017), Dwelling, installation (2017), Erwartung, installation (2017), Re- ceiver Not Found, installation (2018), Seh, do, yek…! for violin, accordion and electronics (2018), Lass mich heraus! for trom- bone quartet (2018), Concerto for accordion duo and chamber orchestra (2018), Rote Kugel for clarinet, violin and electronics (2019), String Quartet (2019), smar for soprano saxophone, dou- ble bass and electronics (2019), Étouffe for violin, accordion and / 167 electronics (2019), Setz Dich bitte hin for instrumental ensemble (2019), Rima Glottdis for flute, electronics and video (2019), (un-) und…and_able for instrumental ensemble and electronics (2020), fourth wall for five performance artists and electronics (2020), Message for the Year of the Metal Rat II for two violins, accordion, piano, percussion and electronics (2020).

Message for the Year of the Metal Rat II References to China in this composition, making use of field re- cordings and excerpts from a speech by Xi Jinping, General Sec- retary of the Communist Party and President of China, are not accidental, but in no way related to the 2020 COVID-19 pandem- ic. The work is largely the fruit of my one-year-long residency in Shanghai, and of my journey through China in 2017–18. My stay in the “Middle Kingdom” (Zhōngguó) has frequently returned in my memories and thoughts until they accumulated into an im- pulse to compose this music. For a person brought up and formed in European culture, China is a country of paradoxes, mostly because mutually contradic- tory ideas and phenomena coexist there on many levels of life. Such a simultaneous coexistence of contrasted worlds is hard to comprehend for the West, which is used to thinking in terms of dichotomies. In China extreme contrasts are omnipresent: in ur- ban landscape, aesthetics, world views, in the material, and even the spiritual spheres. In my memories China returns as a country where one side of a street hosts the luxury boutiques of exclusive world-famous brands, while on the other side we find small, crumbling bars.

Wednesday / 23 September / 22:30 composers Capitalism coexists with market-based socialism. An automated metropolis inhabited by several million people smoothly merges with spotless, harmonious natural landscapes. exists side by side with tradition, and advanced technology is used just as much as simple tools. In all this, between admiration and critical reflection, between incredible diversity and homogenisation – there is some kind of unspoken anxiety which betrays the ambivalent nature both of the subject and the object of my experience. I have reflected the complex character of China in the structure of my composition, in which I attempted to create a new type of sound. It is dominated by rhythm, which determines the form of this piece. The human elements coexist with artificially gener- ated sounds. Nature, silence and meditation are opposed to tech- nology, destruction, and din. Order turns into chaos. Anna Sowa

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Nina Fukuoka Born in 1988 in Osaka, Japan, she graduated from Zygmunt 168 \ Krauze’s class at the Bacewicz Academy of Music in Łódź and studied with Peter Swinnen at the Royal Conservatoire of Brus- sels. She began to work on electronic music with Krzysztof Knittel in Łódź and continued in Brussels with Katarzyna Głowicka. At present she is a doctoral student at the Columbia University of New York. Her works have been performed notably by the Łódź Phil- harmonic Symphony Orchestra, Koninklijke Muziekkapel De Gidsen, Il Fondamento early music ensemble, Hashtag Ensem- ble, Ensemble Garage, and Ensemble Adapter. They have been premiered at the Brussels opera house of De Munt/La Mon- naie and the Muziekgebouw­ aan’t IJ in Amsterdam, as well as being presented at numerous festivals such as Musica Privata in Łódź, Wrocław’s Musica Polonica Nova, Lublin’s Codes, Cu- ban-Norwegian Theatre Days in Havana, Klangwerkstatt Berlin, the Darmstadt International Summer Courses for New Music, and the Manufactuur residency at Ghent’s De Bijloke Muziekcen- trum. She cooperates worldwide (in Europe, Japan, and the United States) with numerous new music ensembles such as Passepartout Duo, Ensemble Kompopolex, Down the Rabbit Hole, Nemø en- semble, The Third Guy, Erämaa Trio, and Pique Collective. Fukuoka has taken active part in many courses dedicated to con- temporary music, including the Graz Impuls Academy, Synthe- tis in Radziejowice, Darmstadt International Summer Courses for New Music, Young Composers’ Meetings in Apeldoorn, and Champdaction LAbO in Antwerp (2018). She has also developed her abilities with ICTUS ensemble and P.A.R.T.S. international school for contemporary dance in Brussels. Her interests focus around multilingualism, science fiction writ-

ing, and the internet reality; for this reason, she frequently uses Wednesday / 23 September / 22:30 composers objets trouvés and elements of mass culture in her works. She pre- fers to communicate with her audience not only by means of mu- sic, but also video and performance art. Interdisciplinary projects, on which she collaborates with visual artists and choreographers, are an important aspect of her work.

Selected works: Quatuor for clarinet, violin, cello and piano (2012), Musique est que des nuages for 14 winds (2013), Efflux for symphony orchestra (2013), Mångata for mezzo-soprano, cello and piano (2014), 13

Sugar, Spice & All Things Nice A Woman‘s Emotionality and Musicality. What does it mean? There are billions of us. Anger detracts from her beauty. Who are our heroes? They are adult, strong, assertive, and re- laxed. Or perhaps laughing unstoppably, overexposing emotions, and weary. Go ahead, smile. The undisputed majority of male composers in a music history textbook. He‘s playing like a girl. Should you correct and remedy the injustice we have encountered on our way to becoming musicians? I’m sorry. I wasn’t being serious, obviously. Nina Fukuoka /

Barbara Mglej

Wednesday / 23 September / 22:30 performers She graduated with distinction from Cracow’s Academy of Music, in the violin class of Kaja Danczowska (2013). She developed her abilities at numerous masterclasses conducted by Jan Stanienda, Grigori Zhislin, Krzysztof Jakowicz, and many others. In 2014–17 she studied chamber music with her ensemble (Antarja Quartet) under the guidance of Johannes Meissl and Vida Vujić at the Uni- versity of Music and Performing Arts in Vienna. Her two main passions are chamber music and new music per- formance. Her fascination with contemporary music began in 2013, when she attended the Polish–German European Work- shop for Contemporary Music, held as part of the 56th War- saw Autumn Festival. In 2014 she participated with the EWCM in the 47th International Summer Courses for New Music in Darmstadt, and a year later in courses held in Cologne. During that period she developed her technique under the guidance of members of Kwartludium, Ensemble Garage, and Ensemble Modern. She has appeared six times at Warsaw Autumn. She has participated in world or Polish premieres of chamber and orchestral music by composers such as Brigitta Muntendorf, Salvatore Sciarrino, Artur Zagajewski, Johannes Schöllhorn, Ragnhild Berstad, Gérard Grisey, Raphaël Cendo, and many 170 \ others. Since 2014 she has been a member of Spółdzielnia Muzy- czna Contemporary Ensemble, with which she has performed at festivals such as the Warsaw Autumn, Sacrum Profanum, Musica Moderna, Codes, Audio Art, Elementi, and NeoArte. Since 2009 she has played in the Antarja String Quartet, with which she has appeared at international festivals in Italy, Ger- many, Austria, Denmark, Serbia, Macedonia, Slovenia, and other countries. In April 2016, Antarja Quartet won the main Master’s Prize in the 3rd Chamber Music Tournament in Bydgoszcz, which led to recording an album of works by Mendelssohn and Penderecki.

Paulina Woś-Gucik A Cracow Academy of Music graduate, she plays the contem- porary and Baroque violins as well as the viola. She focuses on early and contemporary chamber music. In 2019 she received the Young Poland scholarship for artistic achievements. One of her passions is discovering and performing early music in accordance with historical practice, which she does as a member of Quartetto Nero period instruments string quartet. The ensem- ble has won the 1st Prize and Special Award of the 2nd Chamber Music Forum in Poznań (2016) as well as reaching the finals of the Stanisław Moniuszko International Competition of Polish Music in Rzeszów (2019). It has performed throughout Europe at early music festivals, most importantly – at Utrecht’s Festival Oude Muziek, ECOS in Spain, and the Misteria Paschalia in Cracow. In 2019 the quartet released its first album, featuring music by Stanisław Moniuszko and Karol Kurpiński. Contemporary music occupies a special place in the artist’s reper- toire. Woś-Gucik has taken part in the world premieres of many Wednesday / 23 September / 22:30 performers works. She also explores the classics of contemporary music and is involved in performance art projects. With Spółdzielnia Muzy- czna Contemporary Ensemble she has appeared at such interna- tional festivals as Warsaw Autumn, Sacrum Profanum, NeoArte – Synthesiser of Art, as well as Codes Festival of Traditional and Avant-Garde Music. The ensemble’s busy concert and outreach ac- tivity includes series such as Ars Mo­derna, Open Your Ears, Here and Now, and Workin’ Progress. In September 2018 Spółdzielnia Muzyczna took part in the Ensemble-Akademie courses taught by members of ensemble recherché in . The artist also performs with several orchestras such as Capella Cracoviensis, Cornu Copiae, Lublin Philharmonic Early Music Ensemble, and Il Giardino d’Amore as their member, soloist and recording musician.

Martyna Zakrzewska Born in 1989; pianist, soloist and chamber musician specialis- ing in contemporary music. She graduated from the class of Ma­ riusz Sielski and Milena Kędra at the Cracow Academy of Music, where she is currently completing her doctoral studies under the supervision of Jan Pilch. In 2014 she took up studies of new / 171 piano music with Pierre-Laurent Aimard and David Smeyers at the High School of Music and Dance in Cologne, graduating in 2017. Her accolades include the special prize of the 10th Competition of 20th– and 21st-century Music for Young Performers in Radzie- jowice. She has also received scholarships from the Minister of Culture and National Heritage and the Mayor of Cracow. In 2019 she took part in the Stanisław Moniuszko International Compe- tition of Polish Music in Rzeszów. In 2013–15 as a member of the European Workshop for Contemporary Music she gave per- formances during the International Summer Courses for New Music in Darmstadt and Warsaw Autumn. In Cologne she col- laborated with Musikfabrik, which led to a concert at the Uni- versität der Künste Berlin. As a soloist she has performed, among others, at the University of Music and Performing Arts in Graz, WDR, Deutschlandfunk, Lviv Philharmonic, Kielce Philharmon- ic, Witold Lutosławski Concert Studio of Polish Radio, and Nowy Theatre in Warsaw. She has also appeared at such festivals as the Warsaw Autumn, Sacrum Profanum, Musica Moderna, Au- dio Art, aXes, Elementi, Acht Brücken, Seven Currents, NeoArte, Bridges, and Three-and-Four, and performed under conductors such as Rüdiger Bohn, Marek Moś, and José Luis Castillo. She also took part in PWM Edition’s CD recording project 100 for 100. Musical Decades of Freedom, which won the 2020 Fryderyk Award as Album of the Year – Symphonic Music and as Best Recording of Polish Music. She has performed chamber music in Antynomie piano duo, with which she participated in the 2015 ARD competition. She has premiered new works by Piotr Peszat,

Wednesday / 23 September / 22:30 performers Camille von Lunen, Andrzej Kwieciński, Artur Zagajewski, Cezary Duchnowski, Joanna Woźny, Jarosław Płonka, Jacek So- tomski, and Marta Śniady.­ She has been a member of Spółdzielnia Muzyczna Contemporary Ensemble since 2014. She has attended piano master classes taught by Aleksey Orlovet- sky, Nicolas Hodges, Benjamin Kobler, Sebastian Berweck, Maciej Grzybowski, Musikfabrik, Ensemble Modern, and ensemble re- cherche. She has taken active part in the impuls Academy, Inter- national Summer Courses for New Music in Darmstadt, Ostrava Days, and the Stockhausen Courses Kürten. During her studies in Cologne she also gained experience as a conductor and impro- viser under the guidance of Paul Alvares.

Aleksandra Gołaj A Wrocław-based percussionist, she graduated from the Karol Lipiński Academy of Music in Wrocław and also studied at the Janáček Academy of Music and Performing Arts in Brno. Her accolades include the 1st Prize in the vibraphone competi- tion of the 6th Giornate della Percussione in Fermo, and awards in many other competitions. She has received scholarships from the Minister of Culture and National Heritage and the Mayor of 172 \ Wrocław. She is a member of NFM Wrocław Philharmonic sym- phony orchestra. As a chamber musician she regularly performs at contemporary music festivals, including: MUSMA, Musica Po- lonica Nova, Musica Electronica Nova, ISCM World Music Days, Poznań Music Spring, Music on the Peaks, and Warsaw Autumn, among others. She also collaborates with the Wrocław branch of the Polish Composers’ Union. In 2015–18 she taught at the Music Academy in Wrocław. She is a member of Ensemble Kompopolex and the Wrocław Percussion Trio. She is also actively involved in youth music education, and takes part in the Lower Silesian Music Society’s pilot project of organising brass bands as an ex- tracurricular school activity.

Alena Budziňáková-Palus Slovak accordionist, one of the leaders of the accordion music scene in that country; permanently residing and working in Po- land since 2009. She studied at the State Conservatoire in Košice, Music Academy in Cracow, Musik und Kunst Privatuniversität der Stadt Wien, and with Grzegorz Stopa at the High School of Music Detmold, from which she graduated with distinction. She leads a busy international concert life, performing in Poland and Slovakia, as well as many other countries: Austria, Bosnia and Herzegovina, Belgium, Czechia, China, Denmark, Finland, Lith- uania, Germany, Hungary, and Italy. Her repertoire ranges from the Baroque to contemporary. She has won many awards in international music competitions, including 1st prizes in Pula (2012), Poprad (2010), and Dunaj­ ská Streda (2010). Since 2011 she has performed with Grzegorz Palus in duoAccosphere. In 2019 she appeared as a soloist with the Nordwestdeutsche Philharmonie in the premiere of a concer- Wednesday / 23 September / 22:30 performers to dedicated to her by Slovak composer Peter Machajdík. She has also given performances with Cracow Philharmonic, Przemyśl Chamber Orchestra, Orchestra of the PANtonale PhilHARMO­ NIKA Festival at , the philharmonic halls in Odessa and Košice, Konzerthaus Detmold, Krzysztof Pen- derecki European Centre for Music in Lusławice, Tonhalle Düs- seldorf, European Parliament in Brussels, and National Centre for the Performing Arts in Beijing. She has premiered contemporary accordion works notably by Wojciech Ziemowit Zych, Volodymyr Runchak, Anna Sowa, Grzegorz Majka, Renāte Stivriņa, Peter Machajdík, Kira Maidenberg-Todorova, Tyler Versluis, and David John Roche. She has recorded for record labels (Sarton Records) as well as the Slovak Radio and Television, Polish Radio Rzeszów, the Slovak Rádio Devín, and the German WDR 3.

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Thursday / 24 September / 19:30 / 22:30 Thursday / 24 September / 19:30 Warsaw Philharmonic / Chamber Hall

ENSEMBLE NIKEL: Patrick Stadler saxophones Yaron Deutsch electric guitar Brian Archinal percussion Antoine Françoise piano, keyboard instruments 176 \ Alfred Reiter sound projection

Aaron Holloway-Nahum technical director Thursday / 24 September / 19:30

Enno Poppe Fleisch (2017)* for saxophone, electric guitar, keyboard and drums

Hugues Dufourt L’Atelier rouge d’après Matisse (2020)* for saxophone, electric guitar, piano and percussion

Clara Iannotta Outer Space (2018)* for four performers, light and electronics / 177 to the short film Outer Space by Peter Tscherkassky

Matthew Shlomowitz Graveyard Slot (with guest appearance) (2019)* quartet for alto saxophone, electric guitar, drum kit (with MIDI pads) and synthesiser (with samples)

* first Polish performance Enno Poppe Born in 1969, in Hemer, Germany, he studied conducting and composition at the High School of Arts in Berlin notably with and Gösta Neuwirth. Additionally, he stud-

Thursday / 24 September / 19:30 composers ied sound synthesis and algorithmic composition at the Techni­ sche Universität Berlin and ZKM Karlsruhe. In 1992, 1995, and 1998 Enno Poppe received a scholarship for composition by the of Berlin and in 1994, a music schol- arship from the Märkische Kulturkonferenz. In 1998 he won the Award for his Gelöschte Lieder. In 1999 he was invited to the Boswil composers’ seminar; in 2001 he received a scholarship from the Wilfried Steinbrenner Foundation. In the same year he was awarded the Composition Prize of the city of Stuttgart for his work Knochen. Enno Poppe also received the Busoni Composition Award of the Akademie der Künste in Berlin (2002) and scholarships from Akademie Schloss Soli- tude and Villa Serpentara in Olevano Romano. Other awards are the Förderpreis of the Ernst von Siemens Foundation, Schnei­ der- Prize (2005), and supporting award of the Aka­ demie der Künste in Berlin (2006). He also received the Kaske Prize of the Christoph-und-Stephan-Kaske-Stiftung (2009), HappyNewEars­ prize of the Hans and Gertrud Zender Founda- tion (2011), and Hans-Werner Henze Prize (2013). Enno Poppe is a member of the Akademie der Künste in Berlin (since 2008), 178 \ North Rhine–Westphalia Academy of Sciences and Arts (since 2009), and Bavarian Academy of Fine Arts (since 2010). As a conductor, Enno Poppe regularly performs with Klangfo- rum Wien, Ensemble Musikfabrik, and . Since 1998 he also is the chief conductor of ensemble mosaik. He has taught composition at High School of , Summer Courses for New Music in Darmstadt, and at Impuls Akademie (Graz). Enno Poppe received commissions from the Salzburg Festival, Ensemble intercontemporain, Berlin Festival, Musée du Louvre, and festivals such as Donaueschinger Musiktage, Munich Bien- nale, musica viva (Munich), Ultraschall (Berlin), MaerzMusik (Berlin), Éclat (Stuttgart), and Wittener Tagen für Neue Kam- mermusik. Enno Poppe’s music has been performed notably by quartets such as Arditti and Kairos, conductors such as Pierre Boulez, Susan- na Mälkki, Emilio Pomárico and Peter Rundel, and orchestras such as SWR Sinfonieorchester, , BBC Scottish Symphony, Bavarian Radio Symphony, Deutsche Sym- phonie-Orchester Berlin, hr-Sinfonieorchester Frankfurt, and Junge Deutsche Philharmonie. Ensembles that regularly perform his music include are Ensemble intercontemporain, Ensemble Modern, , Ensemble Resonanz, Klangforum Wien, ensemble mosaik, , Musikfabrik, Ensemble 2e2m, SWR Vokalensemble, and Neue Vokalsolisten Stuttgart. Selected works (since 2005): Trauben, piano trio (2004–5), Wespe for voice, to words by Marcel Beyer (2005), Salz for en- semble (2005), Schrank for nine musicians (1989–2009), Obst for orchestra (2006), Keilschrift for orchestra (2006), Arbeit for virtual Hammond organ (2006–7), Drei Arbeiten for baritone, Thursday / 24 September / 19:30 composers horn, piano and percussion (2007), Arbeit Nahrung Wohnung, stage music for 14 gentlemen, to words by Marcel Beyer (2006–7), Abend for four male voices and four trombones (2007), Altbau for orchestra (2007–8), Zug for seven brass (2008), Markt for large orchestra (2008–9), Tonband for two percussion, two key- boards and live electronics (with Wolfgang Heiniger, 2008–13), Fingernagel for violin and viola (2009), Schweiß for cello and keyboard or four instruments (2010), Brot for five musicians (2007–13), Speicher for large ensemble (2008–13), Speicher I for large ensemble (2009–10), Wald for four (2010), Kofferfor large ensemble (2012), IQ, stage music in eight acts, to words by Marcel Beyer (2011–12), Welt for large string orchestra (2011–12), Gold for mixed choir (2006–13), Haare for violin (2013–14), Zwölf for cello (2014), Filz for viola and (2013–17; ver- sion with strings, 2014), Schlaf for two bass clarinets (2011–15), Fell for percussion (2016), Glas for six voices (2016), Stoff,nonet for winds and strings (2015), Buch for string quartet (2013–16), Feld for two pianos and two percussion (2016), Freizeit for string quartet (2016), Torf for orchestra (2016), Fleisch for saxophone, electric guitar, keyboard and drums (2017), Schrauben for 13 per- / 179 cussionists (2017), Rundfunk for nine synthesizers (2018), Quin- tet for two violins, viola and two cellos (2016–19), Schmalz for violin (2019).

Fleisch To “compose” something originally meant to “put it together.” In order to do that, however, the constituent parts need to be isolat- ed. Because any one thing is already composed of other things, writing a string quartet means that you must first parse the idiom before going in search of a new idiom. This is all the more the case with rock music. Rock has become a very stuffy genre at any rate, and this is precisely why it is be- ginning to interest me. Crushing its syntax releases forces that have been distorted and polluted by the rock stereotypes. In do- ing so, I do not wish to unmask anything. The instruments and the sounds cannot be reinvented. Their new meaning arises from putting the rubble together. Enno Poppe © G. Ricordi & Co. Bühnen- und Musikverlag GmbH / Universal Music Publishing Group

/ Hugues Dufourt Born in 1943 in Lyon. Strongly influenced by the French avant- -garde of the 1960s, he cooperated with L’Itinéraire (1975–81) and in 1977, founded the Collectif de Recherche Instrumentale et de

Thursday / 24 September / 19:30 composers Synthèse Sonore (CRISS) with Alain Bancquart and Tristan Mu- rail. Specialist in Philosophy in 1967, he has published numerous texts. He was a researcher (1973–85) and director of research at the CNRS (1985–2009), and in 1982 created the Unité Mixte de Recherche “Recherche Musicale” that he directed until 1995. He has received many awards, in particular the Académie Charles Cros Presidential Prize for his entire oeuvre. Hugues Dufourt favours slow transformations of a seldom-in- terrupted musical discourse. He conceives forms through the evolution of masses and focuses on the concept of thresholds, oscillations, interference, and directional procedures. A pioneer of the spectral movement, however, he gives it a more encom- passing definition, attempting to highlight the instability that tim- bre introduces into orchestration. His music is based on a wealth of sonic constellations and , and relies on dialectics of timbre and of time. He draws part of his inspiration from pictori- al art, essentially retaining the role of colour, mediums, and light. Lately, Hugues Dufourt has composed works with different in- strumentations, from solo piano (Tombeau de Debussy, premiered at Festival Musica 2018) to large orchestra (Ur-Geräusch, pre- 180 \ miered in 2016 by the WDR Orchestra) but also string quartet (Le Supplice de Marsyas d’après Titien, for ) or per- cussion (Burning Bright, premiered by Les Percussions de Stras- bourg at Festival Musica 2014).

Selected works (since 2005): L’Afrique d’après Tiepolo for piano and ensemble (2005), Soleil de proie for two pianos (2005), Erl­ könig for piano (2006), Au plus haut faîte de l’instant for oboe and orchestra (2006), Dawn Flight, string quartet (2008), Duel à coups de gourdin for flute (2008), Les Chardons d’après Van Gogh for vio- la and chamber orchestra (2009), L’Asie d’après Tiepolo for ensem- ble (2009), Voyage par-delà les fleuves et les monts for orchestra (2010), La Sieste du lettré for flute, piano and vibraphone (2010), L’Essence intime des choses for mezzo-soprano and piano (2010), Uneasiness, string quartet (2010), L’Europe d’après Tiepolo for en- semble (2011), Vent d’automne for piano (2011), On the wings of the morning for piano and orchestra (2012), Burning Bright for six percussion (2014), La Fontaine de Cuivre d’après Chardin for pi- ano (2014), L’Éclair d’après Rimbaud for two pianos and two per- cussion (2014), Arrête de frapper / Double trouble for soprano and clarinet (2014), These livid flames for organ (2014), Ombre portée for cello (2015), Reine Spannung for piano (2015), Le Mani del violinista d’après Giacomo Balla for violin and orchestra (2015), Le Passage du Styx d’après Patinir for large orchestra (2015), Ur- -Geräusch for large orchestra (2016), L’Amérique d’après Tiepolo for piano and ensemble (2016), Les courants polyphoniques for four saxophones (2019), Le Supplice de Marsyas d’après Titien, string quartet (2019), Tombeau de Debussy for piano (2019), L’At e l i e r rouge d’après Matisse for baritone saxophone, electric guitar, piano and percussion (2020). Thursday / 24 September / 19:30 composers L’Atelier rouge d’après Matisse L’Atelier rouge is one of the four symphonic interiors that Hen- ri Matisse painted for the collector Sergei Shchukin in 1911. The symbolism of the colour rhythm and the seemingly careless composition express the artist’s detachment from the tradition of Western art. The predominant means of expression is colour: L’Atelier rouge is dominated by a uniform colour tone; there is no perspective or spatial relationships, construction means are neglected. The drawing frees itself from the constraints of the chiaro­scuro, coming close to decorative abstraction. My composition develops through unusual juxtapositions: saxo- phone multiphonics, amplified waterphone, sounds of the electric guitar and from the interior of the piano. Theforms of traditional musical discourse are deformed, instead following a logic of pure tension. Hugues Dufourt © Editions Henry Lemoine

/ / 181 Clara Iannotta Born in Rome in 1983, she studied at the conservatoires of Milan and Paris, IRCAM, and Harvard University with Alessandro Sol- biati, Frédéric Durieux, and Chaya Czernowin. She was a resident fellow of the Berliner Künstlerprogramm des DAAD in 2013, Villa Médicis (French Academy in Rome) in 2018–19, and the recipient of several prizes including the Ernst von Siemens Composition Prize and Hindemith Award in 2018, Una Vita nella Musica – Giovani (2019), and Besten- liste der Deutschen Schallplattenkritik for her first portrait CD A Failed Entertainment (2016). Recent commissions include works written for Arditti Quartet, Trio Catch, Quatuor Diotima, Ensemble Intercontemporain, Ensemble 2e2m, JACK, Klangforum Wien, Neue Vocalsolisten Stuttgart, Münchener Kammerorchester, Nikel, and WDR Or- chestra, among others. Since 2014, Iannotta has been the artistic director of the Bludenz Days of Contemporary Music. Her music is published by Edition Peters. She lives and works in Berlin.

Selected works: siciliana miniatura for string trio (2009), Al di là del bianco for bass clarinet and string trio (2009), il colore dell’ombra for piano trio (2010), Limun for violin and viola plus two people for turning pages (2011), àphones for 17 musicians (2011), clangs for cello and 15 musicians (2012), d’après for seven musicians (2012), A failed entertainment for string quartet (2013), The people here go mad. They blame the wind for bass clarinet, cel- lo, piano and 12 music boxes (2013–14), intent on resurrection – spring or some such thing for 17 musicians (2014), 3 sur 5 for two

Thursday / 24 September / 19:30 composers percussionists and accordion (2012–15), troglodyte angels clank by for 13 amplified instruments and objects (2015), dead wasps in the jam-jar II for orchestra (2016), paw marks in wet cement II for piano and amplified instruments (2015–18), skull ark, upturned with no mast for four performers, installations, lights, motion, objects and electronics (2017–18), dead wasps in the jam-jar III for prepared string quartet (2017–18), Outer Space, interactive work for ensemble with electronics (2018), MOULT for orchestra (2018–19), Eclipse plumage for piano, flute (plus objects), bass clarinet (plus objects), violin, viola and cello (2019), You crawl over seas of granite for amplified string quartet (2019–20).

Outer Space Working on the short film Outer Space, by Peter Tscherkas­sky, put the research I am doing on visual music on a new level. Even without soundtrack, this film provides a sonic experience through rhythm, noise, and dynamic of the visual. Composing music that could add a layer of complexity to the already stan- dalone work has been maybe the greatest challenge I faced within the past years. 182 \ The flow of information received by the eye is so overwhelming that not surrendering to a mere audiovisual synchronisation has been a constant fight that I kept losing. So I simply decided to empower it instead, integrating not only the music but the musi- cians themselves to the film. Outer Space was written for and first performed by Ensemble NIKEL at the Darmstadt Summer Courses for New Music, in July 2018. Clara Iannotta

/

Matthew Shlomowitz Born in 1975 in Adelaide, he began his musical education as a student of Božidar Kos at the Sydney Conservatorium of Music, later continuing with Brian Ferneyhough at the Stanford Uni- versity. Since 2002, he has been living in London. He teaches at the University of Southampton. In 2003, he cofounded the Plus– Minus ensemble, of which he is still a codirector.

Selected works: The Major Sevenths Medley for four electric guitars (2014), Popular Contexts, Volume 8, five soundscapes for a contemporary percussionist, MIDI pads and various acoustic instruments (2015), Electric Dreams, opera (2015), Lecture about Bad Music for lecturer, clarinet, electric guitar, synthesizer and violin (2015), Popular Contexts, Volume 10: Beethoven’s Fourth Symphony in context for flute, synthesizer, violin and cello (2016), Lecture about Listening to Music for lecturer, soprano saxophone / tenor saxophone and synthesizer / samples (2017), Freedom for Notes and Men for talking accordionist (2018), Glücklich Glück- lich Freude Freude for piano and orchestra (2019), Graveyard Slot Thursday / 24 September / 19:30 composers (with guest appearance), quartet for alto saxophone, electric gui- tar, drum kit (with MIDI pads) and synthesiser (with samples) (2019).

Graveyard Slot (with guest appearance) The work is imagined as a fantastical telethon, taking place in the middle of the night. A telethon (a portmanteau of “television” and “marathon”) is a televised fundraising event that lasts many hours or even days to raise money for a worthy cause. Telethons typically feature variety show style entertainment, with musi- cal acts, comedians and sketches. The quality is often uneven. The “graveyard slot” is the period between 2am and 6am, where television audience is small and therefore content is considered less important. Graveyard Slot (with guest appearance) was written for Ensemble Nikel and first performed at the 2019 Bludenz Days of Contem- porary Music. Matthew Shlomowitz

/ / 183 ENSEMBLE NIKEL Nikel is a quartet consisting of saxophone, electric guitar, per- cussion and piano. A mix of traditional and contemporary, these instruments combine to form an alternative chamber music out- Thursday / 24 September / 19:30 performers put where electric and acoustic sounds are fused into a unified sonic organism built on a wide, yet discerning musical vocab- ulary. The continual search for new musical ideas is not based on aesthetic prejudice or dichotomies of musical genres, but on passion and devotion to making and performing great music. Founded in 2006, the ensemble is a frequent guest at many of the leading festivals of contemporary music: Donaueschinger Musiktage, International Summer Courses for New Music in Darmstadt, Wien Modern, Warsaw Autumn, Manifeste Paris, Huddersfield, Gaudeamus in Utrecht, and Impuls Graz. In recent years, they have increased their international presence with ap- pearances in North America, South America, and New Zealand, as well as continued appearances at major festivals throughout Europe. Its recordings are released by Wergo, Neos, and Kairos label.

184 \

Thursday / 24 September / 22:30 Pardon, To Tu

/ Warsaw Autumn Hits the Club

Jacaszek electronics

Piotr Kurek electronics 186 \

Krzysztof Ptak sound projection

Partner of the event: Pardon, To Tu Thursday / 24 September / 22:30

Jacaszek savannah speaking (2020)** for electronics

Piotr Kurek / 187 Let’s Run Around in Circles. I Know We Can (2020)** for electronics

** first performance Jacaszek Composer and producer of electroacoustic music, which com- bines electronically prepared sounds with live instruments. He collaborates with visual and video artists, choreographers, pho-

Thursday / 24 September / 22:30 composers tographers, film and theatre directors. He writes music for films, the stage, and radio dramas. Member of the Polish Society for Electroacoustic Music (PSeME), he resides in Gdańsk.

Selected works: riverbed, savannah 1, dusk, savannah 2, whis- ler, pond 1, pond 2, supercrickets.

Selected discography: Lo Fi Stories (Gusstaff, 2004), Mapa (Map, with Miłka Malzahn; Offmusic, 2004),Sequel (Jaca- szek&Miłka; Gusstaff, 2005), Kompleta (Compline, with Stefan Wesołowski; Ici D’Ailleurs, 2008), Treny (Threnodies, Gusstaff/ Miasmah, 2008), Pentral (Gusstaff, 2009), Glimmer (Ghostly In- ternational, 2011), Pieśni (Songs; The National Centre for Culture Poland, 2013), Catalogue des Arbres (Jacaszek & Kwartludium; Touch, 2014), RIMBAUD (Jacaszek, Budzyński, Trzaska; Gustaff, 2015), Legenda (Legend, Jacaszek, Budzyński; Narodowe Cen- trum Kultury, 2017), Kwiaty (Flowers, Michał Jacaszek, Hania Malarowska; Ghostly International, Requiem Records, 2017), Bramy Nieba (Gates of Heaven, Vocal Varshe & Jacaszek; Requiem Records, 2018), Stutthof. Apel Cieni (Stutthof. Assembly of Shad- 188 \ ows, Tomasz Budzyński, Dariusz Budkiewicz, Michał Jacaszek and Rafał Nowak; Stutthof Museum in Sztutowo, 2018).

savannah speaking The music is based on field recordings collected at Mmabolela Reserve, Limpopo, South Africa, during my Sonic Mmabolela artistic residence in November 2019. Jacaszek

/

Piotr Kurek Warsaw-based musician and composer, founder of the now defunct group The Blind and the Fifteen project. Known as the author of music for numerous theatre plays (notably at the TR Warszawa, Paper Tiger Theatre, Lublin Dance Theatre, and Na- tional Stary Theatre), as well as cooperations with musicians such as Sylvia Monnier (in Suaves Figures), Hubert Zemler (in Fifteen), Francesco de Gallo (in ABRADA), and atypical DJ sets (Smutaż). He has appeared in concert at numerous national and international festivals. 2019 saw the publication of his Polygome record (released by Hands In The Dark). In 2020, Mondoj Editions published his A Sacrifice Shall Be Made / All The Wicked Scenes album, col- lecting compositions from three theatre plays written in coop- eration with Chinese artists: Grzegorz Jarzyna’s Two Swords (a TR Warszawa and Shanghai Theatre Academy coproduction) and two shows by Tian Gebing: The Decalogue staged at the Stary Theatre in Cracow and 500m shown at the Thalia Theatre in Hamburg. Thursday / 24 September / 22:30 composers Let’s Run Around in Circles. I Know We Can New compositions for a virtual vocal group and instruments. Modal harmonies as well as the work of muscles, tissues and structures taking part in voice emission have been figured into the work’s final shape. Nothing here is true, but the borderline is hardly discernible. Piotr Kurek

/ 189

Friday / 25 September / 19:30 Friday / 25 September / 19:30 ATM Studio

François Sarhan concept, video, set design

ENSEMBLE GARAGE: Annegret Mayer-Lindenberg viola, voice Akiko Ahrendt foley artist Timm Roller guitar Małgorzata Walentynowicz keyboards, voice Frank Riedel saxophones 192 \ Yuka Ohta percussion

Yann Philippe video assistance

Kamil Kęska sound projection

Coproduction: Musica Strasbourg Festival

Partners of the event: Ministry of Culture and Science of North Rhine-Westphalia, Goethe-Institut and Foundation for Polish-German Cooperation Friday / 25 September / 19:30

François Sarhan The Right Ear (2020)** music theatre for ensemble, electronics and video / 193

** first performance François Sarhan Born in 1972 in Rouen, French composer, director and visual artist. He studied composition with Brian Ferneyhough, Jona- than Harvey, , , Tristan Mu- rail, and Guy Reibel. In addition, he studied music analysis and

Friday / 25 September / 19:30 composers aesthetics, cello, conducting, harmony and counterpoint, as well as attended Jacques Roubaud’s seminars on comparative poet- ics at the École des Hautes Études en Sciences Sociales in Paris (1999‒2002). He graduated in composition from the Conserva- toire National de Paris in 1995. Subsequently he attended com- position masterclasses in Szombathely with Brian Ferneyhough and Marco Stroppa (1996‒97) with the aid of several SACEM grants. In 1997‒98 he collaborated with IRCAM, then graduated from the Conservatoire National Supérieur de Musique de Paris in music analysis (1999) and composition (2000). He has performed in Asia, Africa, America, and Europe. His works have been presented at international festivals includ- ing Musica (Strasbourg), Donaueschingen, Wittener Tage für Neue Kammermusik, Ars Musica (Brussels), Holland Festival, and MaerzMusik (Berlin). He composed a chamber opera for the Aix-en-Provence Lyrical Art Festival (2003) and released his first monographic CD for the French label Zig-Zag Territoires. Numerous French soloists have performed his works, includ- ing Nicolas Dautricourt, Céline Frisch, Noémi Boutin, François 194 \ Salque, , Dimitri Vassilakis, Samuel Favre, Va- nessa Wagner, as well as ensembles such as Diotima Quartet, Béla Quartet, Ensemble Modern, ensemble recherche, Ictus Ensemble, Ensemble intercontemporain, and Orchestre Philharmonique de Radio France. He is renowned for his music theatre and multimedia works, which he often performs himself. He has recently collaborated with South African artist on Telegrams from the Nose, which was presented more than 30 times at major festi- vals and venues all over Europe. Since 2008 he has been conduct- ing his own works. He has recently opened his first exhibition in Paris, initiating a new aspect of his art such as videos, collages and art books. François Sarhan has taught at IRCAM between 1998 and 2002, and at the Marc Bloch University in Strasbourg since 1999. Since 2015 he has been teaching composition at the University of Arts in Berlin and the High School of Music in Dresden. He wrote History of Music (published in 2002 by Flammarion) and initiated the artistic collective CRWTH, which has creat- ed and performed multimedia projects since 2000. In 2016 he was guest lecturer at the Summer Courses for New Music in Darmstadt, where he presented two new works: Commodity Mu- sic and Who Really Was Mario Bossi. In 2017–18 he was artist in residence at the Schlosstheater Moers, where he wrote and di- rected four theatre performances and a film titled The Suitcase. Selected works (since 2005): 35 chamber works entitled Situ- ations for 1‒4 performers (2008–20) 28 janvier 2005 for baritone and piano (2005), Les Articulations de la Reine, puppet theatre music, to words by Bertrand Raynaud (2005), Five Pieces for vi- ola and orchestra (2005), Missing for guitar, piano, Stroh violin,

percussion, double bass and prerecorded sound (2006), L’Enfer, Friday / 25 September / 19:30 composers un point de détail, evening event including installation, music and spoken text (2006), Amitié for cello (2007), Testimony for 19 mu- sicians and electronics after Charles Rezniko (2007),The Name of the Song for string trio, electronics, Rhodes piano and narrator (2007), Telegrams from the Nose, chamber opera for five musi- cians and narrator, to words by Daniil Kharms (2008), Music While, variations on Purcell’s Music for a While for soprano and guitar (2006), Dibbuk for orchestra (2010), Petit Dibbuk for small orchestra (2011), Home Work, theatre music (2011), A King, Lear, theatre music, to words by Jacques Roubaud after Shakespeare (2011), Lucy B for soprano / mezzo-soprano and string quartet (2011), Here It Ended Even Further, two pieces for piano (2011), Bon pied bel œil for flute, Rhodes piano and tape / computer / CD (2011), Talea for four percussionists (2011), Observations sur les ombres accidentelles et les murmures colorés for cello and tape / computer / CD (2011), O piano for reciting pianist and pre- recorded sound (2012), Deluxe Coucou for violin or ensemble (2008–13), I Don’t Belong to Your World for a speaking marim- ba player (2010–13), Wandering Rocks for four electric guitars / 195 and electronics (2013), Talea 2 for 11 musicians and electronics (2015), La philosophie dans le boudoir, music theatre for six voices (2015), Commodity Music, music theatre for four electric guitars and 24 loudspeakers (2016), Talea 3 for five musicians (2017), One Shot Train, music theatre for five musicians (2017), Potence à paratonnerre for ensemble (2017), Finger and Mouth for key- board and video (2017), Nacht bis Acht, music theatre for children (2019), The End of the Story for two musicians and video (2019), Log Book, electroacoustic work (2019), The Right Ear, music the- atre for six musicians and video (2020).

The Right Ear Cinema generally proposes a pact with the spectator: that of not showing how things are made. No microphone, no camera in the frame, otherwise the magic would be broken. But here, on the contrary, all the artifices are revealed and the specta- tor chooses the point of view from which they wish to witness the show. A movie is projected on a screen, with sound, but un- der the screen we can see the scenery, the musicians performing music and the soundtrack. This play halfway between musical theatre and what could be described as “manual cinema” invites us to observe closely the device and those who handle it, decora- tions in the form of models arranged on tables with techniques of sound effects performed live. An anti-blockbuster, a satire of modern life tinged with surreal black humour, in which we follow the absurd mechanics of a Kafkaesque character caught in the act of consumerism. François Sarhan

/ Friday / 25 September / 19:30 composers

196 \ ENSEMBLE GARAGE At the beginning of 2009, composer Brigitta Muntendorf found- ed Ensemble Garage as a platform for musicians, composers and other artists to explore and display new ideas, concepts, and works. Since its creation the ensemble has focused on bringing the works of younger composers to life through the process of Friday / 25 September / 19:30 performers collective and cooperative rehearsing. Each of Ensemble Garage’s concerts is united by a universal con- cept. Within the frame of this overall concept, the content and performance situations of individual works interact to constitute so-called “staged” presentations. Through its work, the ensemble seeks to answer questions about “our” generation: Who does it consist of? Where does it congre- gate or belong? What does it think and do? What does it use and create, and, most importantly, hear and want others to hear? The- atrical and multimedia approaches to new music are at the core of the ensemble’s approach. The Ensemble’s debut concert was featured as part of a series pro- duced by the ON-Netzwerk für Neue Musik Köln in Cologne. Since then the Ensemble has presented unusual concert formats throughout Germany, Poland and he Netherlands, has been in- vited with music theatre productions to Festivals in Cologne, Cracow, Donaueschingen, Dresden/Hellerau, and has been in- terviewed and recorded by West German Radio, Hessen Radio, and German Radio. / 197 Yann Philippe He studied the cinema, digital arts and multimedia at the Univer- sity of Marne-la-Vallée. Since 2004, he has focused on photogra- phy, specialising in portraits and landscapes in sombre, sinister moods. He graduated in photography and image processing in 2009. He has cofounded the digital postproduction agency Pixus Prod, the Parisian studios Perché (2014) and Flowim (2016) as well as the Photographie Infrarouge association (2017). He lec- tures at his alma mater, the photography academy Gobelins.

Saturday / 26 September / 11:00, 13:00 and 16:00 / 12:00 / 15:00 / 19:30 Saturday / 26 September / 11:00, 13:00 and 16:00 Museum of Warsaw / Syrena Cinema

/ Little Warsaw Autumn

Aleksandra Cieślak text, adaptation, direction

Edward Sielicki music, electronics

Marta Grzywacz voice, sound effects, instruments

Maciej Bogumił Nerkowski voice, sound effects, instruments

Piotr Dąbrowski percussion instruments

Katarzyna Kijek, Przemysław Adamski animations, 200 \ editing

Małgorzata Limanówka, Magda Schromová original translation into Polish sign language

Rafał Smoliński recordings, sound production

Jarosław Paczyński recordings, video production

Katarzyna Wojtasik makeup

Partners of the event: Museum of Warsaw, Society of Authors ZAiKS Culture Without Barriers Foundation, and Dwie Siostry Edition

The event is part of the 8th Festival of Culture Without Barriers.

dwie siostry Saturday / 26 September / 11:00, 13:00 and 16:00

Aleksandra Cieślak, Edward Sielicki Piwnice. Zagadki spod podłogi (Basements. Mysteries from under the floor) (2020)** radio feature-opera for voices, electronics, animations, and Polish sign language / 201 (Warsaw Autumn commission with the support by Society of Authors ZAiKS)

** first presentation Aleksandra Cieślak Born in 1981 in Częstochowa. Writer, illustrator, graphic design- er. She graduated from the Graphic Department of the Academy of Fine Arts in Warsaw. She authors children’s books, including Od 1 do 10, Co wypanda, a co nie wypanda, Co by tu wtrąbić, Koa- la disco, Piwnice, Świńska książeczka, czyli skąd się biorą prosiaczki as well as books for the youth and adults such as Love Story, Złe

Saturday / 26 September / composers Sny, and Książka do zrobienia. She has also written the psyche- delic drama Tit Anik. She was shortlisted three times to the Astrid Lindgren Memorial Award. In 2011, she received the Young Poland scholarship. For Książka do zrobienia, published by Dwie Siostry Editions, was commended in the Children’s Books on Art category at the Bo- logna Ragazzi book show. Her work has been featured at collective and individual exhibi- tions as well as workshop cycles, notably within the Look! Polish Picturebook! programme in Poland and internationally.

Basements. About the book, and the joy of adapting it into a radio feature The book Basements was an initiative of illustrator Dominika Czerniak. Initially, it was textless, so Dwie Siostry Editions ap- proached me to write poetic riddles. As a typical rhyme hunter– gatherer, who finds everything “useful,” I delighted in imagining 202 \ what my neighbours keep in their basements. I sometimes lurk there through the little windows or cracks in the wooden doors. Basements are not only repositories of strangely named objects. They are also collections of sounds! So I am very happy that the book gains a new lease of life as a radio feature. When I write, I often use words that sound intriguing. Just as objects, with time words become abstract forms: we forget what use they had, or their original meaning. Audio cassettes, CDs end up in the same box with chiffon, lacquer, or chaise longue. Today, these words can revive and resound not only in my head, thanks to the ex- traordinary Voices in this oneiric work! In dreambooks, basements symbolise the subconscious. Issues pushed into subconsciousness can reappear as a washed-out dress or a collection of preserves from the previous centuries. Who are the owners of basements? What type of people are they? What hides in their subconsciousness? Look for the answer between the sounds! Aleksandra Cieślak

/

Edward Sielicki Born in Warsaw, composer and teacher, son of the composer Ryszard Sielicki. In 1975–80 he studied composition in the class of Andrzej Dobrowolski and Włodzimierz Kotoński at the Music Academy in Warsaw. In 1984 he continued his studies, notably in computer music, with at the Sweelinck Conserva- toire in Amsterdam, thanks to a grant of the Dutch government. He participated in the International Composition Workshops in Amsterdam (1984 and 1988), Summer Courses for New Music in Darmstadt (1986), and summer courses in Avignon (1991), as well as numerous music courses and workshops in Poland. He is an award winner at the Polish Composers’ Union Youth

Circle Competition, Polish Composers’ Union Warsaw Branch Saturday / 26 September / composers Competition, International Composition Competition in Geneva, and International Electroacoustic Music Competition in Bour­ges. Many of his works have been broadcast for the Polish Radio ar- chives and for records, as well as being performed at festivals such as Warsaw Autumn, Poznań Music Spring, Warsaw Music Meet- ings, and others. Edward Sielicki is a distinguished composer of music for chil- dren. In 1994, the Wydawnictwa Szkolne i Pedagogiczne pub- lished his work Jakie to łatwe! czyli nowy sposób uczenia śpiewu wielogłosowego (How simple! or a new way of teaching polyphonic singing written with Ewa Marchwicka), which features over 200 custom compositions for children. He has received commission for children’s music from the Do-Re-Mi Festival in Łódź and the orchestra of the Fryderyk Chopin State Music Schools Com- plex in Warsaw. He has received many composition scholarships from the Polish Ministry of Culture and the Arts, and in 1989 received the Sta­ / 203 nisław Wyspiański Award, 2nd Grade for lifetime achievement. A record of his Jubilate Deo, a psalm for a cappella choir (1994), was nominated to a Fryderyk Award in 2001. Edward Sielicki has been active as a teacher for three decades: in 1982–87 at the Karol Szymanowski State Music College in War- saw, and for another ten years at the Fryderyk Chopin State Music Schools Complex in Warsaw. He has authored music curricula, and has worked at the Fryderyk Chopin Music University in War- saw from 1987, where he is currently a professor. In 2009–13 he was Deputy Dean of the Composition, Conducting and Music Theory Department. Currently he heads the New Music Chair at the same University. In 1992–93, he lectured at the summer uni- versity in Marly-le-Roi, and has for many years headed the com- position class at the Keimyung University in Daegu, Soith Korea.

Selected works (from 2010): Korean trails for clarinet, cello and piano (2010), Nostalgy of the Infinitefor string orchestra and tape (2010), Sinfonietta for five accordions, percussion and piano (2010–14), Multimedia Preludes for electronics and video (2012), Ensaladas for (2012), Fandango-Fantasie after An- tonio Soler for violin and string orchestra (2012), Concerto per archi (2012), Rains, concerto for piano four hands and string orchestra (2012–13), L’Estro fisarmonico, concerto for accordion and string orchestra (2012–13), Musica florea for flute, cello and harpsichord (2013; also version for viola, double bass and piano, 2013), …et nos cedemus amori…, cantata profana for vocal sextet and electronics (2013–14), Onde chiare e serene for tape (2014), Memorabilia, concertante fantasy for and string or- chestra (2015), Chopin’s Crumb in a Cage for two pianos and per- cussion (2015), North Mazovian Mazurkas for flute, violin, cello and accordion (2015; rev. for flute, violin, viola and piano, 2016; rev. for violin, viola, cello and piano, 2017), Images from Warsaw:

Saturday / 26 September / composers the Palace of Culture, electroacoustic work (2016), At the Mar- gin (after ) for bass clarinet and tape (2016), Mokotów Electronic Mazurka (2016), Micrologus II for accordion, string or- chestra and harpsichord (2016), Micro Strategy (With Shadow of Chopin) for piano and live electronics (2016), Little Electronic Or- phans (In Memory of Eugeniusz Rudnik), electronic music (2016), Shadow Play I – Distorted Noises for tape and video (2016), Seven Simple Mazurkas for string orchestra (2016), Secondo Concerto per archi Hortus Conclusus for string orchestra (2016–17), Clay Tablets for percussion and string orchestra (2017), Galyzianer Rhapsody for clarinet and string quartet (2017), Sonata Per fas et nefas, 2nd version for two violas (2017), MicroSonata for eight vi- olas (2017), Hommage a Szymanowski for violin and cello (2017), Sarang for violin, cello and piano (2017), Missa Brevis Coreana – Kyrie and Gloria for choir and piano / organ (2017), Aphorisiade – Puzzle Opera, children’s opera (with other composers, 2018), Basements. Mysteries from under the floor, radio feature opera for 204 \ voices, electronics, animations and Polish sign language (2020). Basements. Mysteries from under the floor Basement: a mystery word, go down the long stairs, escape the Ward, smells of rot, secret passages, underneath the real world, a tiny lamp under the ceiling, looking into someone’s forgotten, long-time-not-seen reality, the water drips, the torch’s light crawls on the floor to avoid stepping into something sleazy, withered bricks and plaster, the gurgle of pipes, someone must be taking a shower or draining boiled potatoes, newspapers from fifty years ago, blind, silent, fearing the outside world (that Ward, again), slight anxiety: might be a mouse or a rat? Tales my brother used to share mingle in my head of ghosts and black hands reaching out for you, forgotten boxes, watching the un- known through planks, broken locks and keys still in them, si- lence, silence, silence—but what a noisy one, like a fired shot, it’s hot here, the corridors twist like a labyrinth, we keep going to discover something, find lost items, recall snippets of dreams, someone’s jar, I wonder what’s in it, a ski, where’s the other? Here it is, broken. Perhaps someone can fix it? What a pity to throw it away? It might still be useful, old bottles with corks, a sticky liquid, is it sweet? Scraps, boxes, potatoes with rhizomes like worms crawling onto the corridor, cans of paint that’s likely so- lidified, rolls of maps of countries that have long changed their names, boxes of old papers eaten by rodents, rusty bicycles with flat tyres, a suitcase with no handle, faded torn photos of Brigitte Bardot or Madonna, an old chuck, a broken radio, a bag of pot- ting soil, and we are here with a torch, something draws us, calls us, doesn’t let us leave the mystery, sweat on our foreheads, but it’s nothing, wipe it with your short and carry on, into the unknown, the pipes playing that melody, softer or louder, a liquid organ, inflated strings, hissing keyboards, glass harmonicas, percussion of glue and paper, crunch under your feet, the sprung sound of walking onto a metal sheet, silence again, the clang of the lock, Saturday / 26 September / composers door creaking as a giggling imp, light again, solar, terrestrial, hu- man. We are saved! Edward Sielicki

/

/ 205 Marta Grzywacz Born in 1983, improviser (voice, piano, movement). She graduat- ed from the Fryderyk Chopin Music University in Warsaw where she now is a lecturer. She won the 2nd Prize and the title of Instant Composer at the Translatlantic Festival for improvising compos- ers (2012). She is a member of the Hashtag Ensemble. She has performed contemporary music at festivals including the Poznań Saturday / 26 September / performers Music Spring, Warsaw Autumn, Musica Electronica Nova, and Audio Art. She participates in improvised projects in Poland and internationally (notably in Visegrad Songs, Bartók Revised, Witkacy/Photo Scores, Musical Portraits, Intuition Orchestra for the Case of Surprise CD). In her free time, she writes free poetry.

Maciej Bogumił Nerkowski Baritone, he began his musical education in 1999 at the State Secondary School of Music in Bialystok. In 2003–8 he studied at the Vocal Department of the Fryderyk Chopin Academy of Music in Warsaw, graduating with honours. Since 2000, he has performed as a soloist in Poland and inter- nationally, participating with contemporary music festivals such as Crossdrumming, Warsaw Autumn, Sacrum Profanum in Cra- cow, Klang in Copenhagen, Aujourd’hui Musiques in Perpignan, Flâneries Musicales in Reims, and Novelum in Toulouse. He has cooperated with the Grand Theatre – National Opera in 206 \ Warsaw, Grand Theatre in Poznań, Warsaw Philharmonic, Capitol Music Theatre in Wrocław, Juliusz Słowacki Theatre in Cracow, Laboratorio Toscano per la Lirica Opera Studio, and Théâtre de L’Archipel in Perpignan. Currently he is a soloist of the Białystok Opera and Philharmonic; makes recordings and appears in con- cert with the Hashtag Ensemble; and cooperates with the Rampa Theatre in Warsaw. The CD of Paweł Łukaszewski Symphony no. 4 “on the Mercy of God”, in which he interprets the solo part, won the 2017 Fryderyk for Album of the Year – Contemporary Music. In 2001 and 2006 he won the 1s Prize at the Night Song Moniuszko Competition in Białystok, and in 2010 the 2nd Prize at the 14th International Contemporary Chamber Music Competition in Cracow (with Leszek Lorent). In 2008 he obtained a scholarship from Société Générale and was awarded at the Youth Music Forum organised by the Austrian Cultural Forum.

Piotr Dąbrowski Born in 1976 in Ostrowiec Świętokrzyski, percussionist, graphic artist and author. He is primarily a sound practitioner, following his intuition and experience without eschewing external inspira- tions coming from everywhere. Musical practice becomes for him spiritual and life practice, a Way of Sound, the uniting principle of living with himself and the world. He is a disciple of David Saucedo Valle and Piotr “Ciemny” Ciemniewski. He is a member of the Society of Authors ZAiKS and Applied Arts Polish Graphic Artists’ Union.

Kijek/Adamski (Kasia Kijek and Przemek Adamski) A creative duo working in video, animations, and graphics, with special interest for combining those media, continuously experi- menting towards new means of expression. Saturday / 26 September / performers Małgorzata Limanówka Polish sign language translator, teacher of deaf children at the In- stitute for the Deaf in Warsaw. She completed her postgraduate studies in Polish sign language at the Warsaw University and deaf education at the Catholic University of Lublin. Since 2008 she has taught preschool classes at the Institute for the Deaf in Warsaw, and since 2018, preschool and primary school rhythmics, dance, and logorhythmics with deaf children. Since 2012, she has been the Polish sign language translator for TVP Warszawa, followed by Canal+ since 2015. She has worked with the Culture Without Barriers Foundation in adapting Disney’s music films. In 2019, she has started work- ing with the Nickelodeon channel as a translator of Polish sign language in educational preschool children’s films. She has also worked with the TVP ABC channel as a consultant and presenter of the Figu Migu children’s programme, where she is responsible for translating songs into sign language. / 207 As a translator, she specialises in artistic translations in music, theatre, and film. Since 2020, she has been the vice-president of the Polish Sign Language Translators’ Association.

Magda Schromová She graduted in preschool special education at the Palacký Uni- versity in Olomouc and in deaf education and logopedics at the Masaryk University in Brno. She has also studied Czech lan- guage in deaf communication at the Charles University in Prague before completing doctoral studies at the Department of General Linguistics, East Asian Comparative Linguistics and Baltic Stud- ies of the Faculty of Polish Studies, University of Warsaw. She is active as a Polish sign language translator in many areas: confer- ences (including online events and gala events), artistic events (songs and shows for children and adults), medical, official, and academic events. She has translated over 20 theatre shows and music concerts. In 2015, she participated in the first stage performance in Po- land with shadow translating: Gabriela Zapolska’s Four of Them in cooperation with the Warsaw School of Economics Theatre. She has worked as a consultant with Małgorzata Limanówka in the translation of several children’s tales and films, notably for Culture Without Barriers Foundation Projects. This cooperation has resulted in the first Polish duo translation: The Beauty and the Beast. She has co-authored the articles “Theatre translation in Polish Sign Language,” forthcoming in Tertium Linguistic Journal. She was the Secretary of the Polish Sign Language Translators Association in the 2016–20 term. She teaches Czech language at the Czech Embassy in Poland’s Czech Centre.

Rafał Smoliński Music producer, recording engineer, and bass player, he specialis- Saturday / 26 September / performers es in mobile recording in natural spaces, often in difficult condi- tions. He has recorded sound in venues such as the St Lawrence chapel on Mount Śnieżka (1602 m asl), Szombierki Power Plant, and Camaldolese Underground at Warsaw’s Bielany district. He has worked with artists, ensembles, and composers such as Ta- deusz Sudnik, Mieczysław Litwiński, Michał Urbaniak, Miłosz Wośko, Miłosz Pękala, Anna Jędrzejewska, Czesław Mozil, Mar- cin Albert Steczkowski, Eryk Kulm Quintessence, Piotr Mełech Quartet, Aka­demia Theatre, and Cinema Theatre.

Jarosław Paczyński Theatre and film actor, he graduated from the State High School of Theatre in Wrocław. He currently studies at the photography department of the Warsaw Film School. He has shot two films from the series Happy nation that has a poet… Polish poetry 1918–2018. He specialises in documentaries. He is also training as a facilitator in holotropic breathwork at the Grof Transpersonal 208 \ Training.

Saturday / 26 September / 12:00 Austrian Cultural Forum

210 \

Partner of the event: Austrian Cultural Forum Saturday / 26 September / 12:00

Meet the composer:

François Sarhan / 211 Moderator: Krzysztof Kwiatkowski

The meeting will be elh d in Polish and English. Saturday / 26 September / 15:00 Austrian Cultural Forum

212 \

Workshop coorganised by Polish Composers’ Union – Youth Circle

Partner of the event: Austrian Cultural Forum Saturday / 26 September / 15:00

Composition workshop:

Lecturer: François Sarhan / 213 Coordinator: Aleksandra Bilińska

Active participation restricted to preselected composers; free entry for the audience (limited number of seats)

The workshop will be held in English. Saturday / 26 September / 19:30 Warsaw Philharmonic / Concert Hall

Leszek Lorent performer

Jörg Widmann clarinet

CHOPIN UNIVERSITY BIG BAND

Piotr Kostrzewa big band coaching

WARSAW PHILHARMONIC CHOIR

Bartosz Michałowski conductor 214 \ WARSAW PHILHARMONIC ORCHESTRA

Andrzej Boreyko conductor

Maciej Tomasiewicz conductor

Barbara Okoń-Makowska, Ewa Guziołek-Tubelewicz, Aleksandra Koniuch, Michał Bereza sound projection

Partner of the concert: Society of Authors ZAiKS Saturday / 26 September / 19:30

Mark Applebaum Aphasia (2010) for hand gestures and tape

Christian Winther Christensen Concerto for a Movie Loop (2012)* for orchestra and video projection

Mikołaj Laskowski Infectious (Feel It®) (2020)** for big band and electronics (Warsaw Autumn commission with the support by / 215 Society of Authors ZAiKS)

Joanna Woźny canti in/versi (2020)** for choir and electronics (Warsaw Autumn and Warsaw Philharmonic commission)

Miroslav Srnka Speed of Truth (2019)* for clarinet, choir and chamber orchestra

** first performance * first Polish performance Mark Applebaum Professor of composition at Stanford University, he holds a Ph.D from the University of California, San Diego, where he studied primarily with Brian Ferneyhough. His solo, chamber, choral,

Saturday / 26 September / 19:30 composers orchestral, electroacoustic, and operatic works have been per- formed in both Americas, Europe (including major presentations at the Darmstadt International Summer Courses for New Music), Africa, Australia, and Asia. Many of his compositions pose a challenge to the conventional boundaries of musical ontology. These include: works for three conductors and no players, a concerto for florist and orchestra, pieces for instruments made of junk, notational specifications that appear on the faces of custom wristwatches, works for an in- vented sign language choreographed to sound, amplified Dadaist rituals, and a 72-foot long graphic score displayed in a museum and accompanied by no instructions for its interpretation. His TED Talk—about boredom—has been seen by more than three million viewers. Mark Applebaum has been commissioned to write music for Bet- ty Freeman, the Merce Cunningham Dance Company, Fromm Foundation, , Wien Modern festival, Paul Dresher Ensemble, St. Lawrence String Quartet, Meridian Arts Ensem- ble, Chamber Music America, Spoleto Festival, and many others. The San Francisco Contemporary Music Players premiered his 216 \ composition Rabbit Hole, a chamber ensemble work based on page turns. The composer has engaged in numerous intermedia collaborations, including work with neural artists, filmmakers, performance florists, architects, choreographers, and laptop DJ ensembles. Applebaum is also an acclaimed jazz pianist. In this capacity he has concertised from Sumatra to Ouagadougou with his father, composer Bob Applebaum as Applebaum Jazz Piano Duo. They have recorded for Innova, Tzadik, Capstone, Blue Leaf, SEAMUS, New Focus, Champ d’Action, and Evergreen. Applebaum serves on the board of Other Minds and as a trustee of Carleton College, where he was also a lecturer. He has also lectured in Antwerp, Santiago, Singapore, Paris, Amsterdam, Co- penhagen, Stockholm, and Oxford, and collaborated with the At- lantic Center for the Arts. In 2000 he took up work at Stanford University, where he serves as the founding director of the Stan- ford Improvisation Collective. He received the 2003 Walter J. Gores Award for excellence in teaching, and was named the Hazy Family University Fellow in Undergraduate Education.

Selected works (since 2005): 48 Objects for 16 performers (2005), The Blue Cloak for soloist and sextet (2005), Mobile for Paper for any number of performers (2005), Sixteen for 16 per- formers (2005), The Bible Without God, improvised piece (2005), Magnetic North for soloist and brass quintet (2006), 48 Objects for 16 performers (2005), Martian Anthropology 4.5.6 – chamber opera (2005), Echolalia, 22 amplified and signal processed Dadaist rituals (2006), 40 Cryptograms 3, improvised piece (2006), Agitprop for symphony orchestra and jazz band (2006), Variations on Variations on a Theme by Mozart for tape (2006),

The Composer’s Middle Period for sextet (2007), Sock Monkey for Saturday / 26 September / 19:30 composers orchestra (2007), Theme in Search of Variations I for trio (2007), On the Nature of the Modern Age for piano duo (2007), Theme in Search of Variations II for quintet (2007), Theme in Search of Vari- ations III for quartet (2007), Medium for quartet (2008), Pause for piano (2009), Straitjacket for percussion quintet (2009), Concerto for Florist and Orchestra (2009), Curb Weight Surgical Field, duo for grand piano and two players (2010), Aphasia for hand gestures and tape (2010), Coat Room for octet (2012), The Second Dec- ade for percussion quartet (2012), Rabbit Hole for octet (2012), Gone, Dog. Gone! for percussion duo (2012), The First Decade for percussion (2012), 30 for 12 percussionists (2012), The Third Decade for percussion (2012), Clicktrack for 12 percussion- ists (2014), Composition Machine #1 for percussion (2014), Speed Date for violin and cello (2014), Speed Dating for octet (2014), Wristwatch: Speed Dating (2014), Wristwatch: Control Freak for various lineups (2015), Darmstadt Kindergarten for string quartet (2015), Dead Name for string quartet (2017), Administocracy for voice, bass clarinet, trumpet and trombone (2017), Xenophobe: In Memory of Democracy for orchestra (2017), Control Freak for various configurations of chamber musicians (2015–18). / 217 Aphasia Conceived originally for singer and two-channel tape, the piece was commissioned by the GRM, Paris, and composed for vir- tuoso singer . The tape, an idiosyncratic ex- plosion of warped and mangled sounds, is made up exclusively of vocal samples—all provided by Isherwood and subsequently transformed digitally. Against the backdrop of this audio nar- rative, the singer performs an elaborate set of hand gestures, an assiduously choreographed sign language of sorts. Each ges- ture is fastidiously synchronised to the tape in tight rhythmic coordination. The eccentricity of the hand gestures is perhaps upstaged only by the observation that the singer, however extraordinary, produces no sound in concert. (In fact, the role of the “singer” may be taken by any performer of suitably enthusiastic inclination and convic- tion.) In that regard Aphasia may be the first piece in the vocal canon that can be performed even when the singer has laryngitis. Mark Applebaum

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Christian Winther Christensen He studied composition at the Royal Danish Conservatoire with Bent Sørensen, Niels Rosing-Schow, Hans Abrahamsen and Hans-Peter Stubbe Teglbjærg as well as at the Paris Conserva- toire with Frédéric Durieux. His music has been performed by numerous ensembles and orchestras such as the Danish Nation- al Symphony Orchestra, SWR Symphonieorchester, Ensemble

Saturday / 26 September / 19:30 composers Mosaik, ensemble recherche, London Sinfonietta, Distractfold, DissonArt, Curious Chamber Players, Defunensemble, Uusinta, Oslo Sinfonietta, Aleph, Alternance, 2e2m, Athelas Sinfonietta, and SCENATET, at festivals and in venues such as Tage für Neue Musik, MATA Festival, Klangspuren, ISCM World Music Days, Festival di Nuova Musica, Nordic Music Days, UNM Festival, SPOR, Athelas New Music Festival, PULSAR, and Tomor- row. The composer has received the Akademie der Künste Berlin Kunstpreis (2020), the H.C. Lumbye/Agerby grant (2019), Léonie Sonning’s Talent Prize, Schierbeck Prize, and grants for artistic work from the Danish Arts Foundation.

Selected works: String Quartet (2002–3), Don’t Look Back for bass clarinet, trombone, violin and cello (2006), Find Holger Dan- ske for choir (2006), Maskinen for accordion, video and electron- ics (2007), A Fall from the Perfect Ground for flute, clarinet, piano, violin, viola and cello (2003–7), Heiliger Dankgesang for string quartet and electronics (2006–7), Stuff for piano (2008), Concer- to for Two Pianists for two pianos and orchestra (2008), Knock- ing Out of Heavens Door for acoustic and electric guitar (2008), 218 \ The Documentation about Apu Sarkar for soprano, clarinet, saxophone, percussion, double bass and piano (2008–9), In my Presence for ensemble (2009), Being Apu Sarkar for saxophone, percussion and piano (2009), String Trio (2008–9), Festmusik – mit japanischem Geist und deutschem Akzent for ensemble (2010), Andante con moto for alto flute, clarinet, violin, viola, cello and piano (2010), Nachtmusik for alto flute, bass clarinet, violin, cello and piano (2011–12), Piano Preludes for piano and electron- ics (2012–15), Täuschung for cello and accordion with electronics (2012), A Small Monument for a Symphony for chamber orchestra (2012), Concerto for a Movie Loop for orchestra and video pro- jection (2012), Cadenza for cello and electronics (2013), Pre-Air on the G String for string ensemble (2013), Sextet for clarinet, trumpet, piano, violin, viola and cello (2010–14), Chromatische Weltmusik for cello, accordion and orchestra (2013–14), Four Hyperrealistic Songs for alto flute, bass clarinet, harp, piano, cello and electronics (2014–15), Hymns and Spectral Song for alto flute, bass clarinet, alto saxophone, guitar, piano, violin, viola, cello and electronics (2015–16), Almost in G for alto flute, bass clarinet, percussion, acoustic guitar, piano, violin and cello (2016), Chorale for acoustic guitar, electric guitar, alto flute, bass clarinet, piano, violin, viola and cello (2016–17), Freunde for four musicians (2018), Piano Concerto (2018), Dark Sleep for voice, guitar and two small screens (2018–19), Concerto for Viola and Orchestra (2011–19). Concerto for a Movie Loop On the screen, Christian Winther Christensen playing the theme from the Prelude in C Minor Op. 3, no. 2 by Rachmaninov is pro- jected. Winther Christensen calls it a “cliché concerto” because

he mixes clichés from both new music and the noise aesthetic Saturday / 26 September / 19:30 composers that, among others, is inspired by Helmut Lachenmann. The or- chestra continuously plays alongside the pianist in loops that each last a minute or so but are constantly changing, which is also a characteristic of the work‘s clichés. Noise elements gradually take over from the regular sounds of the instruments as the piece develops, with the composer placing focus on non-musically created sounds concretised from the sounds of various physical movements in the final section of the work – for example, from the sound of the composer sitting down on the piano stool.

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Mikołaj Laskowski Born in 1988 in Gdynia, Poland, he graduated with distinction from the Royal Conservatoire in The Hague after studying at the Karol Lipiński Academy of Music in Wrocław. His works have been performed in Poland, Germany, Austria, France, Ita- ly, Finland, Denmark, Iceland, Estonia, the Netherlands, Russia, Czechia, and the United States, at festivals such as the Darmstadt International Summer Course for New Music, Présences, Gau­ / 219 deamus Muziekweek, Klang Festival, Klangwerkstatt Berlin, Musica Polonica Nova, Musica Electronica Nova, Nordic Music Days, Ostrava Days, Tampere Biennale, Unsafe+Sounds, Warsaw Autumn, and Young Composers Meeting. He was awarded in composer competitions such as Generace (2012) and the Young Composers Meeting (2013). His other accolades include Witold Lutosławski Scholarship (2014), a rec- ommendation at the 62nd International Rostrum of Composers (2015), and the Kranichsteiner Stipendienpreis (2016). He has worked with ensembles such as Asko|Schönberg, Duo van Vliet, Electronic ID, Adapter, Nikel, Ives Ensemble, Kwadrofonik, Kwartludium, LUX:NM, New European Ensemble, Musikfabrik, Schallfeld Ensemble, Slaagwerk Den Haag, Spółdzielnia Muzycz- na Contemporary Ensemble, orkest de ereprijs, Ostravska Banda, The Black Page Orchestra, TWOgether Duo, Wet Ink, and many others.

Selected works: Gezaar Aefir for string quartet (2011), Aon- vrotn for computer (2012), AO for large ensemble (2012), hs- vaoe for computer (2012), Sharfnesses for gamelan and string quartet (2013), Darling in my Deaf for clarinet, piano and cello (2013), Flux in die blomster for accordion, cello and two mega- phones (2013), Na for ensemble and two sopranos (2013), Oh, Zoroaster… I Love You, Too… But… for ensemble (2014), Badly Stuffed Hands for piano six hands (2014), Untitled for positive organ (2014), Not for you for chest organ (2014), The tiger left me unsatisfied for bass clarinet, violin, percussion and Hammond organ (2014), ‘neath me, itch! for accordion, microphone, mix- er and computer speakers (2014), Atlantis & **** for flute, bass

Saturday / 26 September / 19:30 composers and contrabass clarinets, harp, percussion and electronics (2015), Oh, to Rub the Waxy Buddah for two samplers, piano, percus- sion and electronics (2015), Limbs of Sun for medieval organ and ensemble (2015), Blushing Clover for ensemble (2015), Korpre- alism 1. Death and Wellness for ensemble, electronics and vid- eo (2016), At the Opening of A Clockwork Orange, 1995 VHS for flute, bass clarinet, baritone saxophone, sampler, violin and cello (2016), Deep Relaxation vol. 1: Accordion & Viola DNA Delete Mode for accordion, viola and electronics (2016), Deep Relaxation vol. 2: Accordions & Electronics Causing Situations and Preventing Change for two accordions and electronics (2016), Deep Relaxa- tion vol. 3: Isochronic Flute Subliminal Motivation for bass flute and electronics (2016), Safe&Sound® for alto and bass flutes, bass clarinet, harp, percussion, electronics and video (2017), 5 Things That Really Matter for large ensemble and electronics (2018), Out- er Space for baritone saxophone, percussion, piano, electric guitar, electronics and video (2018), FIRE UP/ZAPAL SIĘ for flute, bass clarinet, trumpet, percussion, violin, cello, electronics, and video (2018), Deep Relaxation vol. 4: Self-Care for three performers, self- care accessories, electronics and participants (2018), Deep Relax- 220 \ ation vol. 5: It’s Your Body for three performers, earplugs, snacks, electronics and participants (2019), Deep Relaxation vol. 6: Sound Isolation for online video, earphones and participants (2020), In- fectious (Feel It®) for big band and electronics (2020).

Infectious (Feel It®) A big band is, to put it simply, a large ensemble. Like any ensem- ble, it is a group of people functioning for a certain time within an abstract structure. Working with such a group is a perfect op- portunity to look at the tension between the social and the inti- mate. Many questions arise – how extensive can the musicians’ freedom be? How much can they affect the final result? Where does the composer’s responsibility start and end? How does the multiplication of the instruments affect the sense of individ- ualism of the performers? Why do regularity, repetitiveness, and synchronicity give so much pleasure? What happens when this pleasure is taken away? Work on the piece coincided with the outbreak of the COVID-19 pandemic. The tension between individualism and collective needs has thus been highlighted. The resolution of conflicts in this field does not seem to be easy or even possible so far. The at- tempt to address this problem in the domain of arts reveals fur- ther tensions. Does it also come close to finding any solutions? Mikołaj Laskowski

/ Joanna Woźny Born in 1973 in Zabrze, she studied philosophy at the Universi- ty of Katowice (1992–98) and composition with Beat Furrer at the University of Music and Performing Arts in Graz (1996–2003; diploma with distinction). Her numerous accolades include Saturday / 26 September / 19:30 composers the Advancement Award for Music from the City of Graz (2001), award for artistic output from the University of Graz (2004), SKE Publicity Preis and the Erste Bank Kompositionspreis (both in 2010). Her works have been performed at numerous contemporary music festivals (including Wien Modern, Ultraschall Berlin, Warsaw Autumn, Musica Polonica Nova, Klangspuren Schwaz, Musikprotokoll in Graz, Forum Neuer Musik in Cologne, Eclat in Stuttgart, ISCM World Music Days 2013) by orchestras and en- sembles such as the Radio-Symphonieorchester Wien, Deutsches Symphonie-Orchester Berlin, Munich Radio Orchestra, the Pol- ish National Radio Symphony Orchestra (NOSPR) in Katowice, Klangforum Wien, Ensemble Mosaik, ensemble recherche, as- colta, Courage, PluralEnsemble, PHACE, and die reihe, under the baton of Brad Lubman, Enno Poppe, and Lukas Vis.

Selected works: Die verlorenen Pfade I for tenor saxophone, double bass and percussion (2003), Die verlorenen Pfade II for clarinet and tape (2003), Die Spur der Welle for flute, clarinet and viola (2003), Return for saxophone and ensemble (2006), Loses / 221 for orchestra (2006), kahles Astwerk for voice, flute, violin and cello (2007–8), Archipel for orchestra (2008), as in a mirror, dark- ly for ensemble (2010), suspended for flute, accordion and cello (2013), brown, fizzled out for trumpet, trombone, two percussion- ists, piano, electric guitar and cello (2013–14), some remains for flute, clarinet, piano, viola and double-bass (2014), Lacunae for five voices (2015), un altro …di vento, di cielo for soloists, choir and live electronics (2015), from what height fallen for six male voices (2016), dead landscape, mini-opera for two sopranos, two speakers, flute, bass clarinet, piano, violin, cello and electron- ics (2018), any great distance for orchestra (2018), void distance for flute, clarinet, trumpet, trombone, percussion, piano, accor- dion, violin, viola and cello (2019), canti in/versi for choir (2020). canti in/versi …should we still utilize language in its current key, with its current finalities, we shall die without ever knowing the real name of the day. Julio Cortázar, Rayuela (Hopscotch, trans. Gregory Rabassa)

Night, the myriad rustle of tiny wings. Heard lapping water of the inland seas. Thomas Wolfe, Look Homeward, Angel

The starting point for this composition is an imagined, very subtle sound, like spotted silence; the topicalisation of noise as a background. Noise is specific to each space, as also is the related dialectic of silence and sound. Several aspects of my composition: – the human voice is combined with electronic sounds, partly

Saturday / 26 September / 19:30 composers synthesised; these two musical planes are placed in a semantic context; – an attempt to deprive language of meaning: language as sign, as sound, as an ornament (?); – polytextuality and multilingualism; – fragmentary nature and apparent shapelessness, also as a tool of precognition (?). Joanna Woźny

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Miroslav Srnka born in Prague in 1975, he studied musicology at the Charles University and composition at the Prague Academy of Perform- ing Arts. His international breakthrough came in 2016 when his opera South was premiered at the Bavarian State Opera in Munich under , in a production by Hans Neuenfels featuring Rolando Villazón and in the main roles. Even before that, Srnka had received several major commis- sions and awards, including the Ernst von Siemens Music Foun- 222 \ dation Composer’s Prize in 2009. His works have been performed by renowned interpreters including the Los Angeles Philharmon- ic, BBC Philharmonic, ORF Radio-Symphonieorchester Wien, Czech Philharmonic, Ensemble Intercontemporain, Ensemble Modern, Klangforum Wien, and Münchener Kammerorchester, at events such as Ultraschall Berlin, Wien Modern, Présences Par- is, Prague Spring, Musica Strasbourg, Milano Musica, Printemps des Arts de Monte-Carlo, Ostrava New Music Days, and Contem- puls. His short opera Wall, based on a work by Jonathan Safran Foer, was premiered at the Staatsoper Unter den Linden in Berlin in 2005, and in 2006/2007 he was the Composer for Heidelberg at Theater Heidelberg. In 2011, his chamber opera Make No Noise premiered at the Bavarian State Opera, and Jakub Flügelbunt, a “comic book” for three singers and orchestra, received its first performance at the Semperoper in Dresden. In 2017, the Dia- logues Festival in Salzburg presented a comprehensive portrait of the composer with numerous events and premieres. For its 100th season celebrations in 2018/19, the Los Angeles Phil- harmonic commissioned Srnka to write the piece Overheating. The concert series Musica Viva in Munich presented moves 01 & 02 (2015), and premiered Speed of Truth with Jörg Widmann, clarinet, and the Bavaria Radio Choir and Symphony Orchestra conducted by Susanna Mälkki (2019). Srnka has collaborated for many years with Quatuor Diotima, which has performed his quartets across Europe and issued a portrait CD with chamber music under the Naïve label. The 2019/20 season sees his first collaboration with the Czech Philharmonic, which, under Peter Eötvös, performs move 01 and move 03 in their Czech premieres. There will also be the first per- formance of a new work for harpsichord and orchestra, performed

by Mahan Esfahani, François-Xavier Roth and the Gürzenich- Saturday / 26 September / 19:30 composers -Orchester in Cologne. Milky Way, commissioned by ECHO (European Concert Hall Organisation), has its premiere in the Concertgebouw in Amsterdam with trumpeter Simon Höfele as soloist, with further performances in the in Hamburg, Cologne Philharmonic, Luxembourg Philharmonic, the Müpa Budapest, The Sage Gateshead, St Lukes in London, Gulbenkian in Lisbon, Auditori in Barcelona, Konserthuset Stock- holm, Vienna Konzerthaus, Porto, Brussels, Baden-Baden, and Birmingham. In 2019, Srnka was appointed professor of compo- sition at the High School of Music and Dance in Cologne.

Selected works (since 2005): Moldau Remixed for oboe, viola and harp (2005), Wills wohl einmal hinübersehn? for ensemble (2005), Magnitudo 9.0. for flute, clarinet, violin, cello and per- cussion (2005), Wall, chamber opera (2005), ta větši, one varia- tion on the final scene of Jenůfa for piano (2006), Když mne stará matka, Struna naladěna, Dvořák song arrangements for soprano, piano and orchestra (2006), Maria’s Choice for flute, clarinet, two saxophones and percussion (2006), Prostý prostor/Simple Space for cello and harmonic instrument (2006), Kráter Brahms for / 223 cello and string orchestra (2007), Reading Lesson for orchestra (2007), Fictitious Hum for oboe, clarinet, piano and string quartet (2007), Reservoirs for ensemble (2007), Dreizehn Lieder for voice and piano to texts from Jurek Becker’s postcards (2007), Pouhou vlnou/Qu’une vague for piano quartet (2008), Fan Faire for brass and percussion (2009), Coronae for horn (2010), Tree of Heav- en for violin, viola and cello (2010), Escape Routines for clarinet, violin, viola, cello and harp (2010), A Variation for cello (2010), Assembly for ensemble (2011), Engrams for string quartet (2011), Make No Noise, chamber opera (2011), Jakub Flügelbunt… und Magdalena Rotenband, oder: Wie tief ein Vogel singen kann, comic book for three singers and orchestra (2011), Here with You for violin and cello (2011, rev. 2016), Listening Eyes, soundtrack for an installation by Kateřina Vincourová (2012), Eighteen Agents for 19 string instruments (2012), Piano Concerto (2012), My Life without Me for soprano and ensemble (2008–13), track 02 for piano (2014), track 01 for violin and piano (2014), No Night No Land No Sky for chamber orchestra (2014), docudrama01 – Orph & Eury for wind trio (2014), Origami for accordion (2015), move 01/move 02 for orchestra (2015), South Pole, opera (2015), move 03 for orchestra (2016), Future Family for string quartet (2017), Emojis, Likes and Ringtones for piano trio (2018), Trig- gering for harpsichord (2018), Overheating for ensemble (2018), Speed of Truth for clarinet, choir and chamber orchestra (2019), Milky Way for trumpet (2019). Speed of Truth The clarinet substitutes for the human voice, while the choir and orchestra stand for the resonating space. These are the musical forces used by Miroslav Srnka in search of truth in our digital

Saturday / 26 September / 19:30 composers world. In his Speed of Truth, composed for clarinettist Jörg Widmann, the Bavarian Radio Symphony Orchestra and Chorus under Su- sanna Mälkki, the composer utilises highly original performing forces and spatial . In new music, various perfor- mance techniques make the clarinet into one of the most colour- ful and surprising sources of sound. Clarinettist and composer Jörg Widmann features in Srnka’s new work as an extremely in- spiring soloist.

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Marie Luise Maintz: Does composing depend on developing new methods? Miroslav Srnka: It does, in every case, because the way we work determines the results. For each new piece I must work out a new methodology. This is a very slow and painstaking process, but if I followed the same ways again and again, I would become set in my ways and this would be easy to sense in my music.

224 \ The texts speak of truth. In what sense? I set out to examine what the concept of truth means in digi- tal space. There are many short quotes and aphorisms on truth circulating on the internet, from Aristotle to our times. All of them emphasise only one aspect of the problem. Sometimes such citations are attributed to major historical figures, which is sup- posed to make them more trustworthy. There are also separate websites dedicated to finding out where those quotations really come from. Digital sources presenting those “truths about truth” are thus full of untruth. Another aspect that interests me is mu- tual trust between musicians, and that kind of trust that occurs between the stage and the audience. The entire history of musical settings of texts is based on this kind of “contract.” In my work, I aimed to show how relative the execution of this contract can be in practice.

Does truth exist at all? If we had a simple answer to this question, our world would not be in such a pitiful condition. I frequently hear calls to “restore the truth.” But this is impossible in fact. Instead, we should devel- op new concepts and new spheres of cognition.

What is the meaning of composing for a choir for you? A choir is something suspended between music and semantics. Some psychological tricks can effectively undermine our under- standing of what music and semantics are. If you repeat the word “truth” frequently enough, all the confidence in the word is gone. Similarly, if a short text is repeated precisely and fast enough, it becomes music. This is called the “speech-to-song” effect. The stubbornly repeated claim that something is the “truth” is

likewise a tool of propaganda, of winning us over for a certain Saturday / 26 September / 19:30 composers “t r ut h .”

Please describe your cooperation with Jörg Widmann. We frequently met during preparations for the performance, and it was an exciting experience for both of us. Jörg is a composer himself, and when he talks about his instrument, he can explain in two sentences what whole books fail to explain. I feel genuinely lucky as a composer when, working at my desk, I “theoretical- ly” invent a new type of sound on an instrument which I don’t play myself, and it turns out that the sound really works in actual performance.

In your recent music you’ve been working on new types of no- tation, which leave much freedom to the performers. Is it also the case with this composition? Working on this new piece, I have continually asked myself how to develop a coherent notation that would also account for types of sound nearly impossible to notate, which we worked out to- gether with the soloist during rehearsals. This new notation would need to be comprehensible to an orchestral clarinettist as / 225 well. Another question: How to mark in the choral part conso- nants which belong to the borderland between percussive “beat- box” singing, speech-voice (Sprechstimme), and classical singing techniques? Still, the notation is only the surface, and the sub- stance underneath is impossible to notate. The nearly complete certainty that all efforts to notate my music will end in failure makes my explorations exciting and means that they will never come to an end. (excerpts from an interview conducted in May 2019) The end will show the whole truth. * To say of what is, that it is, or of what is not, that it is not, is true. translation to German and back

Saturday / 26 September / 19:30 composers To say what is, what it is or not, it is not, is true. translation to Czech and back Telling what it is, what it is or not, it is not, is true. translation to Czech and German and back To say what it is, what it is or not, it is not true. translation to Japanese and back It is not true to tell what it is and what it is. translation to Chinese and back Say what it is and what it is not true. translation to Japanese and back Please say that it is what it is and that it is not true. translation to German and Chinese and back Please say this is it, it is not true. translation to German and back Please say that‘s it, it‘s not true. translation to Japanese and back Please say that it is not true. translation to German, Japanese, Arabic, German and back Please say that is wrong. translation to Chinese, German and back Please say that it is wrong. 226 \ translation to Chinese, Arabic and back Please tell this wrong. translation to German, Chinese, Arabic and back Please tell her wrong. translation to German and back Please tell her something wrong. translation to German and Chinese and back Please tell her that there is a problem. * Truth is always strange. Truth is the opinion that has survived. The color of truth is grey. Truth is always more colorful. Truth is beautiful, but so are lies. The truth is rarely pure and never simple. Truth is so rare that it is delightful to tell it. The language of truth is simple. * It does not require many words to speak the truth. It takes two to speak the truth — one to speak, and another to hear. Suppose truth is a [wo]man, what then? Truth fears no questions. * That truth should be silent I had almost forgot. The cruelest lies are often told in silence. The truth hurts, but silence kills. Silence is the mother of truth. Truth was the only daughter of time. Check the time from time to time. * Truth is good health -- and safety, and the sky.

How meagre, what an exile -- is a lie, Saturday / 26 September / 19:30 composers And vocal — when we die – * If you want to ruin the truth, stretch it. * Falsehood flies. Truth is always late, limping along with time. * Believe nothing you hear, and only one half that you see.

The quotations set in music were selected from the internet or wall . Where applicable, translations from original languages are anonymous. The translations and paraphrases of the motto, “To say of what is, that it is, or of what is not, that it is not, is true” were obtained through automatic computer translation software. The quotations originate from the follow- ing authors (in alphabetic order) or remain anonymous: Aristotle Jacques de Biez Lord Byron / 227 Emily Dickinson Benjamin Disraeli Ralph Waldo Emerson Baltasar Gracián Chief Joseph Edgar Allan Poe Seneca William Shakespeare Adlai Stevenson I Jonathan Swift Henry David Thoreau Mark Twain Leonardo da Vinci William the Silent

/ Leszek Lorent Percussionist; graduate of the Fryderyk Chopin University of Mu- sic in Warsaw (2008, diploma with distinction). He also studied in Jean Geoffroy’s master class at the Conservatoire Nationale Saturday / 26 September / 19:30 performers Supérieur Musique et Danse in Lyon, and took part in courses of new music interpretation in Tallinn (2006–9). Prize-winner in nationwide and international competitions. He regularly performs at festivals such as the Warsaw Autumn, Aujourd’hui Musiques in Perpignan, Flâneries Musicales in Reims, Novelum in Toulouse, Warsaw Music Encounters, CODES, and Musica Polonica Nova. As a soloist he has appeared with the Polish Radio Symphony Orchestra, Sinfonia Iuventus, Orchestre Perpignan Méditerranée, the orchestras of the Grand Theatre – Polish National Opera, Kielce Philharmonic, and the National Music Forum in Wrocław. He has received scholarships notably from the Polish Prime Min- ister, Minister of Culture and National Heritage, Société Générale, ZAiKS Fund for the Support of Artistic Work, Young Poland pro- gramme, Minister of Science and Higher Education (scholarship for distinguished young academics), and the vice-chancellor of the Fryderyk Chopin University of Music (award for academic achievements). He has contributed to world premiere performances of many works by contemporary Polish composers such as Marcin Błaże- 228 \ wicz, Dariusz Przybylski, Ignacy Zalewski, Miłosz Bembinow, Tomasz Opałka, Aleksandra Gryka, and Paweł Hendrich. He spe- cialises in performing multi-percussion and instrumental theatre compositions. He obtained his DMA in 2012, and his postdoctoral degree in 2016. As a lecturer at the Warsaw Music University, he also di- rects its New Music Studio. His papers exploring the borderline area between music and philosophy have been printed in Aspirac- je periodical of Warsaw’s art universities, as well as in Zagadnienia Naukoznawstwa PAN (Polish Academy of Sciences logological quarterly) and by many academic publishers both in Poland and abroad. His publications include Percussion Studies. Problems of Music Philosophy and Performance in Multi-Percussion Treatises by Selected Authors (Cultura Animi, 2014) and Ineffabilis. Marcin Błażewicz’s Works for Percussion (Cultura Animi, 2015). Lorent has also recorded a dozen albums as a chamber musician and three as a soloist. He is a member of #ART and Euforis artists’ societies

Jörg Widmann Clarinettist, composer and conductor; he studied clarinet with Gerd Starke in Munich and with Charles Neidich at the in New York. He performs regularly with renowned or- chestras, such as the Gewandhausorchester , Orchestre National de France, Tonhalle-Orchester Zürich, National Sym- phony Orchestra in Washington, Orchestre Symphonique de Montréal, , Netherlands Philharmonic, and Toronto Symphony Orchestra, under conductors such as , , and Christoph von Dohnányi. He played the solo part in the world premiere of

Mark Andre’s Clarinet Concerto at the Donaueschinger Musik- Saturday / 26 September / 19:30 performers tage 2015. Other clarinet concertos dedicated to and written for him include Wolfgang Rihm’s Musik für Klarinette und Orchester (1999) and ’s Cantus (2006). He has performed chamber music with such well-known artists as András Schiff, Daniel Barenboim, Mitsuko Uchida, , Antoine Tamestit and the at the Schubertiade Schwarzenberg, Salzburg Festival, Carnegie Hall in New York, and Vienna’s Konzerthaus, amongst others. He also studied composition with Kay Westermann, Wilfried Hiller, and Wolfgang Rihm. His works have been performed un- der the baton of Daniel Barenboim, Daniel Harding, Valery Ger- giev, Kent Nagano, Christian Thielemann, , , and , and premiered by the leading orches- tras such as the Vienna Philharmonic, Berlin Philharmonic, New York Philharmonic, Orchestre de Paris, BBC Symphony Orchestra, and many others. Widmann was an artist-in-residence at leading festivals such as Lucerne Festival and Salzburger Festspiele, as well as with or- chestras: Bamberger Symphoniker, Zürich’s Tonhalle-Orchester (2015/16), BOZAR Brussels, and Elbphilharmonie Hamburg / 229 in its opening season. In the 2017/18 season he was featured as the first ever Composer-in-Residence in history of the Leipzig Gewandhaus. Widmann is a fellow of the Wissenschaftskolleg zu Berlin, a member of the Bayerische Akademie der Schönen Künste, Freie Akademie der Künste Hamburg, Deutsche Aka­ demie der Darstellenden Künste, and Akademie der Wissenschaf- ten und der Literatur Mainz. He is a professor in composition at the Barenboim-Said Academy, Berlin.

CHOPIN UNIVERSITY BIG BAND Made up of Chopin University of Music students and gradu- ates, the Big Band has given performances with renowned artists such as Basia Trzetrzelewska, Krzesimir Dębski, Henryk Miś­ kiewicz, Dorota Miśkiewicz, Adam Sztaba, Zbigniew Namys- łowski, Grupa MoCarta, Kuba Badach, Janusz Szrom, Wojciech Myrczek, Sławek Uniatowski, Vivian Buczek (Sweden), Katarzyna Cerekwicka, Łukasz Zagrobelny, Danuta Błażejczyk, and Anna Serafińska. The ChU Big Band has also collaborated with the emi- nent Grammy-winning US jazz musician, composer and arranger Gordon Goodwin, founder of Gordon Goodwin’s Big Phat Band, with whom the Polish musicians gave concerts in France and Po- land as part of the La Folle Journée’ Festival. In 2015 and 2017 the ensemble won the 1st Prize and Grand Prix of the Big Band Festival in Nowy Tomyśl. It has also appeared at such events as the Jazz Jamboree festival, Jazz Forum magazine’s 50th anniversary, Canal+ Oscar gala, and the Jan Kiepura Award Presentation gala at Warsaw Philharmonic. Chopin University Big Band under Piotr Kostrzewa has recorded seven albums, released by Mirare, MTJ, Chopin University Press,

Saturday / 26 September / 19:30 performers and Polish Radio.

Piotr Kostrzewa Born in 1966 in Warsaw, he graduated from Edward Iwicki’s percussion class at the Fryderyk Chopin Academy of Music in Warsaw (1989). He embarked on his artistic career while still a student, playing in Warsaw Philharmonic and Grand Theatre orchestras. He has cooperated with Warsaw’s theatres such as the Ateneum, Studio, Mały, Współczesny, and Rampa. Since 1993 he has played the in the Sinfonia Varsovia. In 2000 he co-founded the Sinfonia Varsovia Foundation, in which he was a board member, and later its vice-president and president (since 2007). TheFoundation’s aims include promoting the Orchestra, organising some of its concerts and recordings, as well as supporting young talents. In 2006 he took up work as a percussion teacher at the Karol Szymanowski Music School Complex no. 4 in Warsaw, where he became the artistic supervisor and conductor of the Szymanowski Big Band. With the latter he recorded three albums. In 2012, af- ter the dissolution of this ensemble, he set up the Szymanowski 230 \ Young Power Big Band. In 2012 he became the supervisor and artistic director of the Cho- pin University Big Band in Warsaw, with which he has appeared at many festivals in Poland and abroad. Having obtained his DMA in 2017, he was appointed head of the Chair of Jazz and World Music at the Chopin University’s Instrumental Depart- ment (2019), and later dean of the newly established Department of Jazz and Stage Music.

WARSAW PHILHARMONIC CHOIR The Warsaw Philharmonic Choir was founded in 1953 under Zbigniew Soja. Later choirmasters have included Roman Kuk- lewicz (1955–1971), Józef Bok (1971–1974), Antoni Szaliński (1974–1978), and Henryk Wojnarowski (1978–2016). Since Jan- uary 2017, the post has been held by Bartosz Michałowski. The Choir’s activity focuses around symphonic and vocal-instru- mental concerts with the Warsaw Philharmonic Orchestra, as well as a cappella performances at Warsaw Philharmonic. Each season, the Choir gives numerous concerts here, as well as appearing reg- ularly at the Warsaw Autumn Festival and Wratislavia Cantans. The Warsaw Philharmonic Choir has also performed extensively in Austria, Belgium, Denmark, Finland, , Spain, Iceland, Israel, Germany, Russia, Switzerland, Turkey, Lithuania, Latvia, France, Italy, and Great Britain. The Choir has been frequently in- vited to appear in concert with orchestras such as the Berlin Phil- harmonic, Munich Philharmonic, Rundfunk-Sinfonieorchester Berlin, RIAS-Symphonie-Orchester Berlin, Bamberger Sympho­ niker, Tel Aviv and Jerusalem Symphony Orchestras, Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, Orchestre Symphonique de la Monnaie, Orchestra Sinfonica Siciliana in

Palermo, and Orchestra del Teatro alla Scala in Milan. Saturday / 26 September / 19:30 performers The Choir’s first appearance on the operatic stage – in Franco Donatoni’s opera Atem at the Teatro alla Scala in 1985 – brought further invitations to opera houses: re-invitations to La Sca- la (Weber’s Oberon, 1989; Beethoven’s Fidelio, 1990), in Venice (Stravinsky’s The Rake’s Progress, 1986, and Mozart’s The Magic Flute, 1987), Paris (Beethoven’s Fidelio, 1989); Paler- mo (Szymanowski’s King Roger, 1992; Stravinsky’s Oedipus Rex, 1993; and Honegger’s Antigone, 1993), as well as Pesaro (Rossini’s L’italiana in Algeri, 1994). The Choir has been conducted by outstanding Polish and interna- tional masters of the baton and composers including Moshe Atz- mon, Sergiu Comissiona, Henryk Czyż, , Vladimir Fedoseyev, Charles Groves, Jacek Kaspszyk, Kazimierz Kord, Jan Krenz, Witold Lutosławski, Lorin Maazel, Jerzy Maksymiuk, , Andrzej Markowski, Kurt Masur, , Grzegorz Nowak, Seiji Ozawa, Krzysztof Penderecki, Simon Rat- tle, , Witold Rowicki, Jerzy Semkow, Giuseppe Sinopoli, Stanisław Skrowaczewski, Leopold Stokowski, , Tadeusz Strugała, Stanisław Wisłocki, Antoni Wit, and Bohdan Wodiczko. / 231 The Choir’s vast repertoire comprises more than 400 vocal-in- strumental and unaccompanied works, ranging from medieval to contemporary music. A special place in the Choir’s repertoire is occupied by Polish music, in particular that of Krzysztof Pen- derecki; the Choir has performed and recorded all of his vo- cal-instrumental and unaccompanied works. Its albums have received numerous Grammy nominations, as well as a Grammy for the Best Choral Performance for the first CD in the series Pen- derecki Conducts Penderecki. Their recording of A received the 2005 Record Academy Award of the Japanese mag- azine Record Geijutsu. In April 2009, the Choir’s album Stanisław Moniuszko – Masses Vol. 1 won the Fryderyk Award as Album of the Year – Choral and Vocal-Instrumental Music category, where- as Vol. 2 was awarded the Golden Orpheus – Arturo Toscanini Award of the Académie du Disque Lyrique as the Best Phono- graphic Initiative in 2010. In 2011 the Choir received another Fryderyk Award for its 1989 CD recording of Roman Maciejew- ski’s Requiem. Missa pro defunctis, and in 2018 – for an all-Szy- manowski album.

Bartosz Michałowski Director of the Warsaw Philharmonic Choir since 2017. He graduated with distinction in choral conducting from the Ig- nacy Jan Paderewski Academy of Music in Poznań. In the years 1998–2005, he was assistant to Professor Stefan Stuligrosz and conductor of the Poznań Philharmonic Choir. Together with this Choir, otherwise known as the Poznań Nightingales, he performed extensively in Germany, France, Spain, Belgium, the Netherlands, Denmark, Sweden, Italy, Austria, Switzerland,

Saturday / 26 September / 19:30 performers Czechia, Lithuania, Russia, and Japan. He won the 2015 Orphée d‘Or of the Académie du Disque Lyrique in Paris, was nominat- ed for the 2015 Fryderyk Award for his 2CD album featuring works by Pasquale Anfossi, another Fryderyk in 2019 for Karol Szymanowski’s opera Hagith, a Golden Disc, and the 1st Prize in the 9th Polish Nationwide Choral Conductors’ Competition. Bartosz Michałowski is the founder, conductor and artistic di- rector of the Poznań Chamber Choir, founder and director of the Opus 966 Polish Composers’ Competition, and the creator of Write Music – It’s Easy composing workshops for children and teenagers. He is also a co-author of the Obrazogranie project co-organised with the National Museum as part of the Biennial of Art for Children in Poznań. As a conductor, Michałowski has garnered major prizes in pres- tigious choral competitions as well as numerous special awards for, among others, best vocal ensemble technique, best perfor- mance of contemporary music, and best conductor. As director of the Warsaw Philharmonic Choir he has led it in numerous concerts at the Philharmonic and elsewhere. In Octo- ber 2017 he prepared the Choir for the world premiere of Anton 232 \ Rubinstein’s sacred opera Moses (cond. Michail Jurowski) and in 2019, for the performance and world premiere recording of Stanisław Moniuszko’s Paria in the Italian language version. in the previous year, the Choir under his baton took part in PWM Edition’s project 100 for 100 – Musical Decades of Freedom, re- cording Roman Padlewski’s Stabat Mater. Bartosz Michałowski has also prepared several dozen vocal-in- strumental concerts featuring the Warsaw Philharmonic Choir and Orchestra, in collaboration with leading conductors such as Andrey Boreyko, Ton Koopman, Christoph König, Matthew Halls, Martin Haselböck, Bjarte Engeset, Jacek Kaspszyk, and oth- ers. He also frequently collaborated with Krzysztof Penderecki on performances on his works. In addition to his rich experience as a conductor, Bartosz Micha­ ­ łowski has worked for many years on voice production, develop- ing his vocal skills and knowledge at masterclasses with Poppy Holden (Great Britain), Christian Elsner (Germany), and Józef Frakstein (Poland). He is a lecturer at the Fryderyk Chopin Uni- versity of Music in Warsaw.

WARSAW PHILHARMONIC ORCHESTRA The Warsaw Philharmonic Orchestra gave its first concert in the newly erected Philharmonic Hall on 5 November 1901. The Orchestra was conducted by Emil Młynarski, the Philhar- monic’s cofounder, first Music Director and conductor. Its soloist was , one of the Philharmonic’s founders. Warsaw Philharmonic’s rapidly rising performance standards soon attracted outstanding artists from all over the world. Both before the First World War and during the interwar period, it es- tablished itself as the main centre of musical life in Poland and one of the most prominent musical institutions in Europe. Nearly all Saturday / 26 September / 19:30 performers the famous conductors and soloists of the day performed here, in- cluding Claudio Arrau, Edvard Grieg, , , Bronisław Huberman, Wilhelm Kempff, Otto Klempe­ rer, , Sergei Rachmaninov, , Artur Rodziński, , Pablo Sarasate, and . In the first years after the Second World War, the Warsaw Phil- harmonic Orchestra was managed by Olgierd Straszyński and Andrzej Panufnik, among others. In January 1950, the post of Director and Principal Conductor was taken up by Witold Ro­wi­ cki, who set about establishing a new orchestra. On 21 February 1955, a new Philharmonic Hall was opened in Jasna Street, erected on the site of its predecessor, which had been destroyed by German air raids. On that day, the institution was named the National Philharmonic. In the years 1955–58, the Orchestra was headed by Bohdan Wo­ dic­ zko,­ a distinguished promoter of contemporary music, who collaborated with, among others, Arnold Rezler and Stanisław Skro­waczewski. During his tenure, the Orchestra was trans- formed and enlarged. The enormous popularity of 20th-century music performances contributed to the inception of the “Warsaw / 233 Autumn” International Festival of Contemporary Music. In 1958, Witold Rowicki was appointed Artistic Director and Principal Conductor once again, and held this post until 1977. The Orchestra’s guest conductors of that time were Stanisław Wisłocki and Andrzej Markowski. Under the direction of Rowi­ cki, international concert tours and performances in the world’s most prestigious concert venues became a permanent element in the Orchestra’s calendar. On 1 July 1977, the post of Artistic Director and Principal Con- ductor was offered to Kazimierz Kord, who held it until the Phil- harmonic’s centenary year in 2001. In 1979–90, the Orchestra’s Deputy Director and Conductor was Tadeusz Strugała. From the very beginning of his work, Kord focused on expanding the Orchestra’s concert repertoire, which in the following seasons resulted not only in symphonic works but also large vocal-instru- mental and opera productions, as well as numerous contempo- rary compositions being performed. From 2002 until 2013 the post of General and Artistic Director of the Warsaw Philharmonic was held by Antoni Wit, who adopt- ed the same philosophy regarding the institution’s repertoire as his predecessor, adding to it even more Polish music, often per- formed by foreign artists. Under his baton, the Warsaw Philhar- monic ensembles recorded over fifty albums, including almost forty under the Naxos label. The albums, featuring mainly Pol- ish music composed by Karłowicz, Szymanowski, Lutosławski, Penderecki, Górecki, and Kilar, have been showered with a pleth- ora of awards, including the prestigious Grammy in 2013. Antoni Wit concluded his tenure with the Orchestra’s debut at the BBC Proms in London in August 2013.

Saturday / 26 September / 19:30 performers In the 2013/14 season, the duties of Artistic Director, responsible for the development of the Philharmonic ensembles, their rep- ertoire and guest artists, were handed over to Jacek Kaspszyk. His historic concert at the 2013 Warsaw Autumn Festival, fea- turing the pianist , became one of the high- lights of the Lutosławski Year (the concert programme included Lutosławski’s Piano Concerto and Symphony no. 3) and won the Polish Music Coryphaeus Award as Event of the Year. He also conducted the first live streamed performances in the history of the Philharmonic. Under his baton, the Orchestra recorded six albums for Warner Classics and for (2015). As of the 2019/20 season, the post of artistic director has been taken up by Andrey Boreyko. The Warsaw Philharmonic Symphony Orchestra has made over 150 concert tours around five continents, and has appeared in all of the world’s major concert venues, each time receiving high acclaim from audiences and critics alike for its superb and char- ismatic interpretations. The ensemble has performed at many prestigious international festivals, including in Vienna, Berlin, Prague, Bergen, Lucerne, Montreux, Moscow, Brussels, Florence, 234 \ Bordeaux, Athens, Bilbao, Lisbon, and Tokyo, as well as at the La Folle Journée Festival in Nantes. The Warsaw Philharmonic Or- chestra participates regularly in the finals of the International Fryderyk Chopin Piano Competition, Warsaw Autumn Festival, Chopin and His Europe Festival, and the Ludwig van Beethoven Easter Festival. It has recorded for Polish Radio, Polish and for- eign record labels, and film companies.

Andrzej Boreyko After graduating with the highest distinction, from two de- partments – choral conducting as well as orchestra and opera conducting – at the Rimsky-Korsakov Conservatoire in Saint Petersburg, he took up his first posts as conductor in Russia (Ul- yanovsk and Yekaterinburg). Then, after several years as Artistic Director of the Poznań Philharmonic (the city of his childhood) he was appointed Principal Conductor and Artistic Director of the Jenaer Philharmonie. He spent five years (1998–2003) at the helm of the philharmonic, and currently holds the title of Honorary Conductor. He then went on to become Music Director of the following or- chestras: the Winnipeg Symphony Orchestra (2001–6), Sympho­ niker Hamburg (2004–8), Berner Symphonieorchester (2004–10), and Düsseldorfer Symphoniker (2009–14). During this period, he was also the principal guest conductor of the Vancouver Sym- phony Orchestra (2000–3), Radio-Sinfonieorchester Stuttgart des SWR (today known as the SWR Symphonieorchester), and Orquesta Sinfónica de Euskadi in San Sebastian (2009–17). From September 2012 until June 2017, Andrzej Boreyko served as Mu- sic Director of the Orchestre National de Belgique. In Septem- ber 2014, he took up the post of Music Director of the Naples

Philharmonic in Florida. Boreyko is currently also the director of Saturday / 26 September / 19:30 performers a festival at the BOZAR centre in Brussels, each edition of which is dedicated to a different composer. The conductor is also regularly invited to collaborate with many world-class orchestras. In North America, he has led the New York Philharmonic, Los Angeles Philharmonic, as well as the sym- phony orchestras of Cleveland, Philadelphia, Montreal, Detroit, Chicago, Boston, San Francisco, Baltimore, Pittsburgh, and To- ronto. He has also appeared at festivals in Ravinia and Aspen with the Chicago Symphony Orchestra. He has been invited to collab- orate with the National Arts Centre in Ottawa, the San Francisco Symphony, Indianapolis Symphony Orchestra, and the orchestras of Cincinnati and Houston, with which he performs regularly as a guest conductor. In Europe, he has worked with renowned orchestras including the Berlin Philharmonic, the Deutsches Symphonie Orchester in Berlin, Munich Philhamonic, Staatskapelle Dresden, Gewand- hausorchester in Leipzig, Wiener Symphoniker, Filarmonica della Scala, Royal Concertgebouw, Orchestre de Paris, Tonhalle- -Orchester­ Zürich, London Symphony, Philharmonia, Rotter- dams Philharmonisch Orkest, Rundfunk-Sinfonieorchester Ber- / 235 lin, Konzerthausorchester Berlin, Royal Stockholm Philharmonic, Gothenburg Symphony, Bamberger Symphoniker, Orchestra del Maggio Musicale Fiorentino, Orchestre Philharmonique de Radio France, and Nederlands Philharmonisch Orkest. In Asia, Andrzej Boreyko has graced the podiums of the NHK Symphony Orchestra in Tokyo, Seoul Philharmonic Orchestra, and Hong Kong Philharmonic Orchestra. In Australia, he has collaborated with the Sydney Symphony Orchestra, Melbourne Symphony, and the orchestras of Adelaide, Hobart, Brisbane, and Perth. To great acclaim he conducted the Los Angeles Philharmonic in the first ever American performance of Henryk Mikołaj Górecki’s Symphony no. 4. He was also at the podium when the London Philharmonic Orchestra performed the world premiere of the same work in April 2014, and also took part in its first ever re- cording (Nonesuch Records). Also under his baton was the Cin- cinnati Orchestra when it performed Igor Stravinsky’s recently discovered Funeral Song, the premiere of Victoria Borisova Ollas’s Symphony no. 2 and Requiem for Larissa by Valentin Silvestrov. The artist boasts an extensive discography, including valuable recordings with the then Radio Sinfonieorchester Stuttgart des SWR, of which he was principal guest conductor (ECM Records and Hänssler Classic). With Los Angeles Philharmonic he record- ed Witold Lutosławski’s Chain II for Yarlung Records, and with Orchestre National de Belgique he continues the vast project of recording Shostakovich’s complete symphonies. Maciej Tomasiewicz Graduate of the Academy of Music in Katowice, where he com- pleted studies in composition and music theory as well as a PhD course in orchestra and opera conducting under Szymon By- Saturday / 26 September / 19:30 performers walec. In addition, he attended Michael Dittrich’s conducting masterclass in Budapest, where he was awarded the 2nd Prize in a competition, as well as masterclasses taught by Gabriel Chmura, Jacek Kaspszyk, and Larry Livingston. He is closely associated with the Archetti Chamber Orchestra, with which he has collab- orated as a violinist, and since 2014 as its conductor. In 2015–19 he worked as a conductor of the Polish Youth Symphony Or- chestra in Bytom and the Karol Szymanowski Youth Symphony Orchestra in Katowice. Tomasiewicz has worked as an assistant to leading conductors including Michail Jurowski, Gabriel Chmura, Jacek Kaspszyk, Michał Klauza, Christoph Koenig, Alexander Liebreich, Tadeusz Kozłowski, and Antoni Wit. He has been assistant conductor to NOSPR Katowice, as well as at the Grand Theatre in Łódź, where (having won a competition for the position of assistant conduc- tor) he prepared the premiere of Moniuszko’s The Haunted Manor directed by Krystyna Janda. He has led orchestras such as Warsaw Philharmonic, Beethoven Academy Orchestra, Polish Sinfonia Iu- ventus Orchestra, Białystok Opera and Philharmonic, Kato­wice Philharmonic, philharmonic orchestras in Kalisz, Kielce and 236 \ Zielona Góra, the Silesian Chamber Orchestra, and Orkiestra Muzyki Nowej (New Music Orchestra). Since 2016, he has worked at the Silesian Opera in Bytom, where he has conducted, among others, the balet premiere Sheherezade /Medea to music by Rimsky-Korsakov and Barber, as well as re- vivals of Puccini’s Tosca, Tchaikovsky’s The Nutcracker, Johann Strauss Jr’s , and Moniuszko’s The Haunted Manor. At the Podlasie Opera and Philharmonic in Białystok his projects have included Bizet’s Carmen and Puccini’s Turandot. In the 2016/17 season, he was assistant conductor to the Polish Orchestra Sinfonia Iuventus, and was twice the Institute of Mu- sic and Dance’s conductor-in-residence (at the Katowice Phil- harmonic and the Białystok Opera and Philharmonic). Since September 2019 (following a competition for the post of Andrey Boreyko’s assistant), he has worked at Warsaw Philharmonic. In the coming season he is taking up the post of principal conductor of the Silesian Chamber Orchestra. Sunday / 27 September / 11:00, 13:00 and 16:00 Sunday / 27 September / 11:00, 13:00 and 16:00 Museum of Warsaw / Syrena Cinema

/ Little Warsaw Autumn

Aleksandra Cieślak text, adaptation, direction

Edward Sielicki music, electronics

Marta Grzywacz voice, sound effects, instruments

Maciej Bogumił Nerkowski voice, sound effects, instruments

Piotr Dąbrowski percussion instruments

Katarzyna Kijek, Przemysław Adamski animations, 238 \ editing

Małgorzata Limanówka, Magda Schromová original translation into Polish sign language

Rafał Smoliński recordings, sound production

Jarosław Paczyński recordings, video production

Katarzyna Wojtasik makeup

Partners of the event: Museum of Warsaw, Society of Authors ZAiKS Culture Without Barriers Foundation, and Dwie Siostry Edition

The event is part of the 8th Festival of Culture Without Barriers.

dwie siostry Sunday / 27 September / 11:00, 13:00 and 16:00

Aleksandra Cieślak, Edward Sielicki Piwnice. Zagadki spod podłogi (Basements. Mysteries from under the floor) (2020) radio feature-opera for voices, electronics, animations, and Polish sign language / 239 (Warsaw Autumn commission with the support by Society of Authors ZAiKS) Event commentary – see page 202 Sunday / 27 September / 11:00, 13:00 and 16:00

240 \ Fringe events

Thursday / 17 September – Friday / 30 October Sunday / 20 September / 17:00 Sunday / 20 September / 22:30 Monday / 21 September – Wednesday / 30 September Tuesday / 22 September / 18:00 Wednesday / 23 September / 17:00 Thursday / 24 September / 17:00 Saturday / 26 September / 18:00 Sunday / 27 September / 16:00 Thursday / 17 September – Friday / 30 October / 9:00–17:00 Austrian Cultural Forum

242 \

Organised by Austrian Cultural Forum Karolina Breguła, Karl Salzmann After-sound (2020)** exhibition Opening of the exhibition: 17 September / Thursday / 18:00 Fringe events

The After-sound exhibition combines works by Karolina Breguła and Karl Salzmann. Both refer frequently to music and sound in their artistic practice, and the exhibited works focus on objects inextricably linked to those phenomena, such as recordings and sound recording devices, or instruments that, even when temporarily not in use, can arouse the musical imagination through their visual presence. The title of the exhibition refers to / 243 the phenomenon by which mute objects can become carriers of a sound that has faded away. The works of Karolina Breguła and Karl Salzmann, in examining the language that music and sound can be, also fall under the main theme of this year’s Warsaw Autumn Festival. They look at the materiality of sound, its social and cultural dimension, and at its metaphorical levels of meaning.

The opening of the exhibition will be accompanied by a performance by Karolina Breguła and Karl Salzmann.

** first presentation Sunday / 20 September / 17:00 Austrian Cultural Forum

Alfredo Ovalles piano 244 \

Organised by Austrian Cultural Forum Roberto Sierra Intimate Pieces (2017)*

Gérard Pesson Vexierbilder II (2003) Fringe events

Margareta Ferek-Petric I repeat myself while under stress (2018)*

Tomasz Sikorski Eufonia (1982) / 245

Pascal Dusapin Piece no. 3 – Black Letters (2019)*

Igor Jaćimović Montale Weeping (2018)**

Matthias Kranebitter nihilistic studies 4–6 (piano as neurosis) (2013)*

** first performance * first Polish performance Sunday / 20 September / 22:30 SPATIF Club

KOMPOPOLEX: Aleksandra Gołaj percussion Rafał Łuc accordion 246 \ Rafał Zalech electronic viola Jacek Sotomski computer (guest)

Organised by Polish Composers’ Union – Youth Circle Fringe events

Concert of the Polish Composers’ Union – Youth Circle

Prize-winning and commended compositions at / 247 the 11th Zygmunt Mycielski Composition Competition Monday / 21 September – Wednesday / 30 September / 12:00–16:00 (Monday – Wednesday, Friday) / 14:00–18:00 (Thursday) XX1 Gallery

248 \

Organised by Fundacja Sztuk Krytycznych Fringe events

7th Performance for sounds – Andrzej Mitan exhibition – objects, documentations / 249 Tuesday / 22 September / 18:00 Mazovia Institute of Culture

Marcin Krzyżanowski electric cello Zuzanna Paluch recitation

Włodek Pawlik piano

Olga Szwajgier soprano Mieczysław Litwiński voice 250 \ Ryszard Ługowski , bowls Tadeusz Sudnik electronics

Wojciech Konikiewicz piano, synthesizers, electronics, flutes Marcin Pospieszalski double bass, bass guitar Radosław Maciński percussion

Organised by Fundacja Sztuk Krytycznych 7th Performance for sounds – Andrzej Mitan Poza czasem i przestrzenią (Beyond Time and Space)

Marcin Krzyżanowski Proto-prolog (2020)** for recitation and electric cello

1st Video Intermezzo – Fringe events Andrzej Mitan / Grzegorz Rogala

Włodek Pawlik … for piano / 251 2nd Video Intermezzo – Andrzej Mitan / Grzegorz Rogala

Olga Szwajgier, Mieczysław Litwiński, Ryszard Ługowski, Tadeusz Sudnik Beautiful singing for soprano, voice, gongs, bowls and electronics

3rd Video Intermezzo – When a Man Dies Andrzej Mitan / Grzegorz Rogala

Wojciech Konikiewicz NATIM (2020)** for around

** first performance Wednesday / 23 September / 17:00 Fryderyk Chopin University of Music / Henryk Melcer Hall

252 \

Organised by Fryderyk Chopin University of Music Polish Contemporary Music 3 Fringe events – Chopin University Press

This meeting presents the latest book, record, and score publications by Chopin University Press, dedicated to Polish contemporary music. The panel will include music theorists, composers, and performers, leading interpreters linked to the Fryderyk Chopin University of Music: Klaudiusz Baran, / 253 Paweł Łukaszewski, Paweł Gusnar, Wojciech Błażejczyk, Leszek Lorent, Rafał Grząka, Rafał Janiak, Andrzej Karałow, Grażyna Paciorek-Draus, and Ignacy Zalewski, among others. The meeting will be accompanied by a presentation and sale of publications. Thursday / 24 September / 17:00 PWM Edition

Igor Torbicki piano 254 \

Organised by Polish Composers’ Union – Warsaw Branch Concert of the Warsaw Branch of the Polish Composers’ Union, from the cycle “Musical Seasons – Autumn”

Władysław Słowiński Miniatures per pianoforte (1967)

Paweł Kwapiński Espressioni (2020)** for piano Fringe events Carlos E. Malcolm Eclosion (1974) for piano

Jerzy Bauer Two Inscriptions for Witold Lutosławski (2004) / 255 for piano

Jan Oleszkowicz Genotypes (2020)** five pieces for piano

Anna Ignatowicz-Glińska nAdAl (2007)** for piano

Artur Cieślak Studies for piano (1996–1999) Study no. 1 and no. 3

Romuald Twardowski Hommage à Bach (2000) for piano

** first performance Saturday / 26 September / 18:00 Warsaw Philharmonic / Chamber Hall

Beata Bolesławska-Lewandowska, Lech Dzierżanowski moderators

256 \ CHOPIN PIANO DUO: Bartłomiej Kominek Anna Boczar

Organised by Polish Music Information Centre POLMIC

Project cofinanced by the Minister of Culture and National Heritage’s Culture Promotion Fund Concert and presentation of a new website dedicated to Roman Maciejewski www.maciejewski.polmic.pl Fringe events

Programme:

Roman Maciejewski Mazurka (1951) for two pianos / 257 Tarantella and Lullaby (1938) for two pianos

Negro Spirituals: Sometimes I Feel like a Motherless Child, I Want to be Ready (1946) for two pianos

A CD with works for two pianos by Roman Maciejewski will be available soon at POLMIC. Sunday / 27 September / 16:00 Komuna Warszawa

RADICAL POLISH ANSAMBL

Cezary Duchnowski live electronics 258 \ Maniucha Bikont voice, tuba Mikołaj Pałosz devil’s fiddle

Organised by Fundacja Automatophone

Project cofinanced by the City of Warsaw Fringe events

Cezary Duchnowski, Maciej Filipczuk Diabelskie skrzypce (Devil’s Fiddle) staged concert / 259

Indexes / 1956–2019 / p. 262 / 2020 / p. 357 Composers / compositions / performers / 1956–2019

The index, arranged alphabetically by composer, comprises all the works that have been performed at the sixty-two ‘Warsaw Autumn’ festivals.

The information in brackets presents the year of performance and the perfor­mers in the following order: soloist / ensemble / conductor. 262 \ Two asterisks (**) indicate the world premiere while one asterisk (*) indicates the first performance in Poland.

Commonly used abbreviations stand for the names of voices and instruments. Aa, Michel van der: Auburn (*2003. Hijmans, Alcantara, Burt: Masque of Separation (Myth) electr gtr / tape), Here Trilogy, Part 2 and 3 (*81. music from tape / London (*2006. Leonard, sopr / Sinfonia Varsovia / Contemporary Dance Theatre / Cohan, Hirsch / Ciciliani, soundtrack / Gallagher, choreography); composers / compositions / performers / 1956–2019 sopr. amplification, soundtrack), Hysteresis Alexandra, Liana: Le soleil et la lune (2017. Marelli, cl / New Music Orch. / (*83. Madrigal Choir / Constantin); Bywalec / Błaszczak, Czechowicz, sound), -Zadeh, Frangiz Ali Aga Kyzy: Habil-Sajahy One, chamber opera for soprano, video and (*83. Monighetti, vc / Sakharov, pf), Mugam soundtrack to author’s own libretto (*2004. Sayagi (*2005. Ensemble TIMF / Choe); Hannigan, sopr / van Raalte, lights / Schots, Allende-Blin, Juan: Mein blaues Klavier for sound / van der Aa, dir.); organ, barrel organ and jew’s harp (*75. Aaquist, Svend: Saga Night (*2002. Lenko, acc); Zacher / Capelle / Langenbruch); Aaron S Collective: Aaron S, multimedia Alsina, Carlos Roqué: Auftrag (*71. Musica opera (**2016. Wojciechowski, composition / viva Pragensis / Vostřák), Etude pour zarb Krzaczkowski, libretto / Cybulski, (*79. Drouet), see also Enkyklopaideia; instruments making, software / Leto, video / Alvarez, Javier: Papalotl (*88. Widlund, pf / LUX:NM Contemporary Music Ensemble tape), Temazcal (2008. Rossi, maracas / Berlin / Migas, Zaborowski, sound); Okoń-Makowska, Błażejczyk, sound); Abakans (2019. screening of a film; Mucha, dir. Alvarez, Javier – Ian Dearden: Edge Dance / Schaeffer, music); (*89. tape); Ablinger, Peter: Black Series (Mondrian 2-5) Ambrosini, Claudio: Capriccio, detto (**2018. Black Page Orchestra / Froschauer, l’Ermafrodita (*88. Sparnaay, b cl), sound); De vulgari eloquentia (*86. Ex Novo Abrahamsen, Hans: Märchenbilder (*89. Ensemble di Venezia); London Sinfonietta / Masson; 98. Caput Amy, Gilbert: La variation ajoutée (*85. Ensemble / Gunnarson), Schnee (*2015. Ensemble InterContemporain / Tamayo), Talea Ensemble / Baker), String Quartet Mouvements pour 17 instruments solistes No. 2 (*94. ), Walden (*59. Silesian Philh. Chamber Orch. / (*84. Vestjysk Kammerensemble); Markowski), Refrains (*74. Orch. Philh. Abras, Juan Manuel: Ania is… (2016. de la RTF / Amy); Górczyński, cl), Chacarera beatboxera Anderson, Barry: Fanfare (*89. computer (**2008. Tik-Tak, beatboxer / Kwartludium); tape); Acezantez: see Variations ‘Trash’; Anderson, Julian: Khorovod (*96. Schönberg Acoustic Octet (More-Or-Less) – piece Ensemble / de Leeuw), Past Hymns (*99. composed and performed by Albert Márkos, Sinfonia 21 / Brabbins); Tim Hodgkinson, Raymond Strid, Pere Anderson, Laurie: Langue d’amour (**2017. Olivier Jørgens, Birgit Ulherr, Martin Aulbert, voice / Walentynowicz, keyboard); Klapper, Raoul Björkenheim, Christer Andre, Mark: …hoc… (*2012. Kasper, vc / Irgens-Møller (*98. European Improvisation Experimentalstudio des SWR), ni (*2016. Orch.); European Workshop for Contemporary Adamék, Ondřej: Dusty Rusty Hush (*2010. Music / Bohn); NPO / de Leeuw), Fishbones (*2010. Andriessen, Louis: Dances (**92. McFadden, Les Percussions de Strasbourg), Karakuri sopr / Radio Kamerorkest Hilversum / – Poupée mécanique (*2016. Hata, sopr / Metzmacher), De Materie, Part IV (*2000. / 263 European Workshop for Contemporary Torenbos, choreography and dance / Music / Bohn), Polednice (**2013. Polish Nehrebecka, recitation / AMFC Vocal Radio NSO / Liebreich); Consort, Warsaw / NPO / Kord), de Staat A Adams, Byron: Requiem Songs (*83. (*77. de Vries, Kerstens, Kweksilber, Armanowska, sopr / Gadzina, vn / de Nijs, 4 sopr / NPO / Michniewski; 2018. Wasiółka, vc); Czarkowska, Bienias, Puchalska, Rzezińska, Adams, John: Chamber Symphony (*96. 4 sopr / Polish Radio NSO / Siebens / Schönberg Ensemble / de Leeuw), Okoń-Makowska, Bereza, sound), De Stijl Harmonielehre (*92. Kiev Opera House Orch. (*97. Spring Orch. of Warsaw Autumn / / Baley), Shaker Loops (*86. Polish Radio Kaspszyk), Ende (**80. Music Workshop), and TV Chamber Orch., Poznań / Duczmal), Haags Hakkûh (*2010. Bugallo-Williams Slonimsky’s Earbox (*2006. SO of the Academy Piano Duo / NPO / de Leeuw), Hoketus of Music in Kraków / Czepiel), The Chairman (*79. Hoketus Ensemble), Hout (*2001. Dances (*90. Poznań PO / Michniewski); Loos Ensemble), Overture to Orpheus (89. Adams, John Luther: The Light Within Chojnacka, cemb), Paintings (*67. Vetter, (*2008. Seattle Chamber Players / fl a becco / Krauze, pf), Registers (93. Guziołek-Tubelewicz, sound); Krzanowska, pf), Symphony for Open Strings Adès, Thomas: (*2004. (*2000. The Kiev Soloists / Sirenko), Zilver Krzanowska, pf / Silesian String Quartet), (*96. Schönberg Ensemble / de Leeuw, see Totentanz (*2013. Stotijn, m-sopr / Dazeley, also Enkyklopaideia and Forging the Scythes); bar / NPO / Janiak); Anghel, Irinel: Arrets (**2002 Anghel, acc / Adjemian, Alexander: Pastoral Sinfonietta Csendes, vn / Kivu, vc / tape), Electro-Trance (*74. Armenian Chamber Orch. / Saakianc); (III) (*2007. Electric Pro Contemporania), Agafonnikov, Vladislav: Motherland (*73. Labyrinthe (**2002. New Music Orch. / Latvian Academic Choir / Cepitis); Bywalec), Metablues (*2001. Worms, pf), Ager, Klaus: Something Like a Habanera Toys R US (II) (*2007. Electric Pro (**80. Music Workshop); Contemporania); Agitation Free: see 1) Grosskopf, Erhard – Antheil, George: (Nos. 1 & 2) Agitation Free, 2) Plancton; (*76. Beths, vn / de Leeuw, pf); 8Aharonián, Coriún: Los cadadias (**80. Music Anzaghi, Davide: Rapsodia (*84. Canino, Workshop); Ballista, 2 pf); Aho, Kalevi: Symphony No. 5 (*79. Helsinki Aperghis, Georges: Contretemps (*2009. Radio SO / Segerstam); Michel-Dansac, sopr / London Sinfonietta / Aitken, Robert: Plainsong (*78.; 86. Aitken, fl); Atherton), Dans le mur (*2017. Nakamura, pf Akita, Masami (Merzbow): Expanded music / Roux, computer music design / SWR (*2015. performance); Experimentalstudio), (*2002. Alandia, Edgar C.: Antes (*88. Schiaffini, tbn / Ondrůšek, perc), Les sept crimes de l’amour tape); (Asmussen, sopr / Bendsen, perc / Albright, William: Sphaera (*86. Witkowski, Wright, cl), Luna Park (*2012. Saunier, pf / tape), Sweet Sixteenth, a cakewalk (**80. dance, voice / E. Furrer, octobas fl, voice / Music Workshop), Take That (89. Cracow Schmid, b fl, voice / Dubelski, perc, voice / Percussion Group); Aperghis, staging / Lévy, script and video / IRCAM), Machinations (*2009. Levesque, Austin, Larry: see Ives, Charles – Larry Michel-Dansac, Sacoun, Strosser, voices / Austin; Pasquet, computer / IRCAM / Aperghis, dir.), Avital, Yuval: Reka (**2014. Bandinu, composers / compositions / performers / 1956–2019 Quatorze Jactations (selection) (*2009. Sardinian canto a tenores tradition / Wörner, bar), Teeter-Totter (*2009. London Dandarvaanchig, Mongolian pastoral and Sinfonietta / Atherton), Thinking Things diaphonic tradition; with morin khuur / (2019. Aperghis, dir. / Dubelski, actor / Kaikov, epic and religious songs of Michel-Dansac, sopr / Peintre, bar / Saunier, the Jewish Bukhara tradition; with frame dance / Pasquet, computer / Nouvel, video, drum and plate / Legwabe, Zulu vocal robot programming / Lévy, set and lighting tradition; with djembe / Namtchylak, design), Vittriool (*2011. Neue Vocalsolisten shamanic and guttural singing of Tuva / Stuttgart), Zeugen, ‘spectacle musical’ with Yeshe Rinpoché, Tibetan Bön tradition; with text by Robert Walser and seven hand ritual instruments / Beneventi, perc / puppets by Paul Klee (*2007. Kammer, voice Colombo, perc / Vocal Crowd / Avital / / Widauer, narrator, puppeteer / Weiss, alto Garegnani); sax / Molinari, b cl / Anzelotti, acc / Ayres, Richard: No. 44 (diary pieces) (*2010. Rivalland, cimb / Hoursiangou, pf / Nagy / Orkest De Ereprijs / Boerman / Błaszczak, Aperghis, Lévy, stage design / Lévy, video, sound); light / Aperghis, production); Azguime, Miguel: A Laugh to Cry, opera Apostel, Hans Erich: Variationen über (**2013. M. Azguime, libretto, concept, ein Thema von Joseph Haydn (*56. Wiener speaker / P. Azguime, stage director, video Symphoniker / Gielen); composition, concept, sound / Lynch, sopr / Appleton, Ion: In Medias Res (*78. tape); Isherwood, bass-bar / Pacheco, sopr / Araszkiewicz, Franciszek: Fire: Miniature no. 3 A. Mandillo, speaker / Norbotten NEO / (**2014. Cracow Music Academy Sundkvist / Perrotta, technology director, Composition Students / Koczur); programming / Bartetzki, live electronics / Arho, Anneli: Minos’ (*96. Tiensuu, cemb); Baltazar, motion capture and programming Arnhold, Katarzyna: A Soul Flew Out of / P. Mandillo, VFX and 3D effects, the Body (2001. Majeran, bass-bar / photography, video), Derrière son double Davidson, bagpipe / Bednarska, vn / Dobras, (*2008. Sond’ar-te Electric Ensemble / Mikłaszewska, Wieczorkowska, 3 sopr); Amaral / Azguime, sound), Le Dicible Arrigo, Girolamo: Serenata (*74. Zelenka, gtr), Enfin Fini (*2009. Miso Music Portugal’s Tre madrigali (*84. Collegium Vocale Köln); Loudspeaker Orch. / Azguime, live Artyomov, Vyacheslav: The Road to Olympus electronics and sound projection), No oculto (*80. Moscow SO / Dudarova); profuso (*2009. Pinto, cl / Miso Music Arutunian, Alexander: Sinfonietta (*74. Portugal’s Loudspeaker Orch. / Azguime, Armenian Chamber Orch. / Saakianc); live electronics and sound projection), Arzouman, David: Precipitation (*91. tape); Salt Itinerary, multimedia opera (2009. Asheim, Nils Henrik: Ensemble Music for 5 M. Azguime, performance, composition, (*83. Ny Musikks Ensemble); texts and concept / P. Azguime, sound Ashley, Robert: Dust (*99. S. Ashley, Buckner, projection, live electronics, video dir. and Humbert, La Barbara, R. Ashley, voices / staging / Mandillo, video dir. and live video / Tyranny, synth / Yoshihara, visual dir.); Bartetzky, video programming / Miso Studio 264 \ Aslamazian, Sergei: Two Pieces on the Theme / Miso Music Portugal, production); of (*81. Babadjanian, Arno: Chamber Orch. / Terian); (*63. Rostropovich / The All-Union Radio A–B Asmara, Michael: Gending Bonang (*2014. and TV SO / Rozhdestvensky); Warsaw Gamelan Group); Babbitt, Milton: Envoi for piano four hands Astriab, Jan: Four Characteristic Pieces (**86. (*96. Selter and Sachs), My Ends Are My Polish Radio and TV Chamber Orch., Poznań Beginnings (*86. Devendra, cl), Philomel / Duczmal), Metamorphoses (70. NPO / (*68. Nendick, sopr / tape); Markowski), Overture (85. Polish Radio NSO Bacevičius, Vytautas: Poème électrique / Wit), Violin Concerto (83. Jakowicz / Sofia (93. Lithuanian State SO / Rinkevičius), PO / Ilyev); Symphonie No. 6 ‘Cosmique’, Op. 66 Augustyn, Rafał: A Life’s Parallels (85. (*93. Lithuanian State SO / Rinkevičius); Januszewska, sopr / Polish Radio NSO / Bacewicz, Grażyna: Cello Concerto No. 2 Wit), Atlantis II (**84. Silesian PO and Choir / (**63. Cassado / NPO / Krzemieński), Stryja), Carmina de tempore (91. Januszewska, Concerto for Orchestra (*62. NPO / Rowicki), sopr / B. Knapik, vla / Esztényi, pf), Cyclic Concerto for String Orchestra (56. Orch. Piece No. 2 (94. Pyzik, cb), En blanc et noir National de la RTF / Martinon; 72. Silesian (92. Chojnacka, cemb), Long Island Rail PO / Stryja; 76.; 83. Polish Chamber Orch. / Road… for violin and accompanying objects Maksymiuk), Concerto for Viola and Orchestra (2002. Pryn), Miroirs (**97. Ex tempore / (70. Kamasa / Royal Liverpool PO / Groves), Saga duo), Paganini Variations (Nos: 1, 2, Contradizione (*67. NPO / Rowicki), Desire 5-17, 19, 21-26, 28-30) (**93. Esztényi, pf), (73. Ballet Ensemble and Orch. of the Grand String Quartet No. 2 with alto flute ad lib. Theatre, Warsaw / Makarowski, (**83. Mrozik / Silesian String Quartet), choreography / Nowakowski, musical dir.), Sub Iove (89. RIAS-Kammerchor / Creed), Divertimento (84. Polish Chamber Orch. / Symphony of Hymns (**2004. Attrot, Burton, Maksymiuk), In una parte (77. Leningrad PO / 2 sopr / Kamps, tr / Gorczyca, keyboard / NP Dmitryev), King Arthur’s Adventure, radio Choir / Sinfonia Varsovia / Rivolta), Tam. opera (60. from tape), Musica sinfonica in tre Music for Violin, Voices and Instruments movimenti (*65. NPO / Rowicki), Music for (**2013. Pryn / Wrocław Philharmonic Choir Strings, Trumpets and Percussion (**59. / Polish Radio Orch. / Rivolta); Polish Radio NSO / Krenz; 64. NPO / Augustyn, Rafał – Cezary Duchnowski: Upbeat Wisłocki; 93. Sinfonia Varsovia / Penderecki), (**2018. tape); Overture (56. State Orch. of the USSR, Auric, Georges: Ouverture (*56. Orch. National Moscow / Anosov; 96. Spring Orch. of de la RTF / Martinon); Warsaw Autumn / Zhadko), Pensieri notturni Ausländer, Peter: Rush-hour (2011. students (*61. Cracow Philh. Chamber Orch. / and teachers of the Adam Mickiewicz Markowski), Quartet for Four Cellos (**64. Primary School No. 187 in Warsaw, Ciechański, Węsławski, Suchecki, Raczek), the Stanisław Staszic Primary School String Quartet No. 4 (56. Quatuor Parrenin; No. 171 in Warsaw, the Emanuel Bułhak 2006. Silesian String Quartet), String Quartet Primary School No. 12 in Warsaw, No. 6 (**60. Quatuor Parrenin), String the Primary School No. 86 of Culture and Quartet No. 7 (66. Dimov String Quartet; Education Association in Warsaw / Poore, dir.) 87. Wilanów String Quartet), Symphonic Variations (**58. Polish Radio NSO / Krenz), viola da gamba), Variations in the Rondo Form Ten Studies for Piano (58. Smendzianka), (79. Varsovia String Quartet), Variations Violin Concerto No. 7 (69. Janowski / NPO / without Theme (**62. NPO / Rowicki), Voices Markowski); from Afar (84. Artysz, bar / Wrocław PO / composers / compositions / performers / 1956–2019 Bäck, Sven-Erik: Sentire (*78. Świątek, fl / Pijarowski); Klocek, vc / Mietelski, pf); Bajoras, Feliksas: Diptych (*93. Lithuanian Baculewski, Krzysztof: Antitheton I (93. New State SO / Rinkevičius), Missa in musica Warsaw Trio), A Walking Shadow (**91. (97. Ex tempore / Saga duo), Toccata (*71. Silesian PO / Swoboda), 12 Etudes for Piano Lithuanian Chamber Orch. / Sondeckis), (**2007. Samojło), Is Slottet (**76. Triptych (84. Kusiewicz, ten / Malicki, pf); Instrumental Ensemble of NP / Witkowski), Balakauskas, Osvaldas: La lointaine Prelude, Psalm and Meditation (2012. (The Distant One), opera triptych The Land Camerata Silesia / Orlow, org / Kuc, perc / of Ulro, part 2, chamber opera to poems by Szostak), Rilke-Lieder (2001. Meynell, sopr / O. Miłosz (**2002. Karasińska, sopr / MacIntre, bar / BBC Singers / Joly), The New Rafałko, ten / Ruciński, bar / Warsaw String Deliverance, an opera (88. Ensemble Trio / Janik-Krzemionka, fl / Gołębiowski, cl / of Wrocław Opera / Bielunas, staging / Żwirdowski, tbn / Wypych, cb / Kominek, pf / Gawroński, musical dir.), Sonata canonica Maślanka, perc / Fiugajski / Seitz-Wichłacz, (2000. Sapiecha, Śliwa, 2 Baroque vn), sets and costumes / Łazarkiewicz, dir.), The Profane Anthem To Anne (94. Camerata Meridionale (**94. Sinfonietta Cracovia / Silesia / instrumental ensemble / Szostak); Michniewski), Movimenti II, version for 2 pianos Badings, Henk: Electromagnetic Sound Figures and tape (2007. R. and Z. Ibelhauptas / tape), (*60. tape); Opera strumentale (*93. Lithuanian State SO Baervoets, Raymond: Espressioni (*72. Grand / Rinkevičius), Polilogas (2000. Mleczko, sax / Orch. RTB, Brussels / R. Czajkowski); The Kiev Soloists / Sirenko), Sölža-Gala Bagiński, Zbigniew: A Few Pictures (**2003. (*97. Saga duo / tape), Tyla – Le Silence Sinfonia Varsovia / Rivolta), Circulations (**87. Januszewska, sopr / Wietrzny, alto / (**2006. Ensemble Phoenix), Danza generale Knetig, ten / Kaleta, bass / Cracow Academy (2008. E. Vişenescu, cl / O. Vişenescu, vn / of Music Chamber Orch. / Wnuk-Nazarowa); Maier, pf), Hawaiian Songs (**94. Cracow Balasanian, Sergei: Passacaglia (*81. Moscow Percussion Group), Nocturne-Berceuse Conservatory Chamber Orch. / Terian); (90. Camerata Vistula / Borkowski), Piano Baley, Virko: Concerto No. 1 for Violin and Quartet (91. Polish Piano Quartet), String Orchestra (*92. Krysa / Kiev Opera House Quartet No. 3 (93. Wilanów String Quartet), Orch. / Baley); Sinfonia notturna (88. Slovak PO, Bratislava / Baltakas, Vykintas: Ouroboros (*2006. Režucha), The Little Elegiac Symphony Polish-German Youth Ensemble / Bohn); (97. Spring Orch. of Warsaw Autumn / Bamert, Matthias: Incon-Sequenza Kaspszyk); (*80. Piernik, tba); Bahn, Curtis: Vocable Vamp (*91. tape); Bancquart, Alain: Ombre eclatée Baird, Tadeusz: Canzona (85. NPO / Krenz), (*74. Łukomska, sopr / Orch. Philh. Cassazione (**56. NPO / Rowicki), Colas de la RTF / Amy); Breugnon (56. State Orch. of the USSR, Bång, Malin: purfling (*2013. Hellqvist, vn / Moscow / Ivanov), Concerto for Oboe and Wolniewicz, sound); Orchestra (**73. Faber / Polish Radio NSO / Bánkövi, Gyula: Exclamations (**2002. Aukso / / 265 Wisłocki), Concerto lugubre (*76. Kamasa, Moś); vla / Polish Radio and TV SO, Cracow / Banshchikov, Gennadi: Ashes in the Palms Kaspszyk; 81. Koch, vla / Polish Radio NSO / (*79. Novikova, sopr / Leningrad Chamber B Kaspszyk), Divertimento (60. members of Het Orch. of Old and Contemporary Music / Danzi Kwintet), Elegeia (74. NPO / Serov); Markowski), Epiphany Music (*63. NPO / Barbaud, Pierre: Ars recte computandi Krzemieński), Espressioni varianti (**59. (*77. tape); Wiłkomirska, vn / NPO / Rowicki), Etude Barbaud, Pierre – Janine Charbonnier: (2007. Camerata Silesia / Kostrzewa, tmp / Varsovienne (**64. Ensemble Instr. Halat, Kordylasińska, Pękala, Szczecińska, de Musique Contemporaine / Simonovitch); Grygo, perc / Kopacka, cel and pf; 2017. VRC Barber, Llorenç: Cholula, a Nonsense Talk Choir / Kozyra, Jarosiński, Kurkiewicz, of Bells (94. Barber, bells), Vox Clamans Niezgoda, Herzyk, Bonk, 6 perc / Adamczak, (*97. Barber and members of Spring Orch. pf / Bywalec), Exhortation (**60. Bardini, of Warsaw Autumn, bells); recitation / NPO and Choir / Rowicki), Five Barber, Samuel: Summer Music (*62. Songs (**68. Szostek-Radkowa, m-sopr / The Dorian Quintet); Wrocław PO / Markowski), Four Dialogues Bares, Peter: Laudes creaturarum (**64. Faber, ob / NPO / Rowicki), Four (*84. Collegium Vocale Köln); Essays (**58. NPO / Rowicki; 64. NPO / Bargielski, Zbigniew: Alpine String Quartet Wisłocki; 2008. Polish Radio NSO / (79. Wilanów String Quartet), A Night of Kaspszyk), Four Novelettes (70. NPO / Farewells (2006. Koźlik, acc / Dafô String Rowicki; 91. Sinfonia Varsovia / Nowak), Quartet), Butterfly Cage (81. Wind Quintet of Four Songs (*67. Szostek-Radkowa, m-sopr / the Polish Radio and TV, Katowice), anilo – vi NPO / Rowicki), Goethe-Briefe (76. Hiolski, – klänge (**2018. Ensemble Recherche), bar / NP Choir / Polish Radio and TV SO, Concerto for Percussion and Orchestra (**75. Cracow / Kaspszyk), Love Songs (**61. Proksa / Polish Radio NSO / Warzecha), Woytowicz, sopr / NPO / Rowicki), Play Concerto for Piano, Percussion and Symphony (72. Den Danske Kvartet; 89. Berner Orchestra (**2013. Walentynowicz, pf / Pilch, Streichquartett; 2006. Dafô String Quartet), perc / Polish Radio Orch. / Rivolta), Concerto Psychodrama (75. NPO / Michniewski; for Violin and Orchestra (78. Wiłkomirska / 98. Polish Radio Orch. / Gazon), Scenes Polish Radio and TV SO, Cracow / Wit), (*78. K. Storck, vc / H. Storck, hp / Polish Ein Zimmer (*73. Music Workshop), Four Radio and TV SO, Cracow / Wit), Sinfonia Woodwinds with Horn (83. Wind Quintet of breve (71. Staatskapelle Dresden / Kurz), the Polish Radio and TV, Katowice), It’s Still String Quartet (58. ; Night, It’s Still Sound (*2005. Zubel, sopr / 96. Silesian String Quartet), Symphony No. 3 NPO / Yuasa), Nocturne in Red and Blue (**69.; 97. NPO / Krenz), Tomorrow, music (2007. J. Jakowicz, vn / Megaron Orch. / drama (**66. Soloists and Orch. of the Grand Warren-Green), Parades (**69. Silesian PO / Theatre, Warsaw / Bardini, staging / Stryja), Requiem (*93. Silesian PO / Rowicki, musical dir.), Trouvère Songs Swoboda), Slapstick (**98. Oslo Sinfonietta / (2000. Stefanowicz, counter-ten / Eggen), String Quartet No. 3 ‘Still Life with Dobrzański, Pałkowski, 2 fl a becco / Pyzik, Scream’ (88. Wilanów String Quartet), Through the Looking Glass (**2003. Bartulis, Vidmantas: Aurora lucis (*90. Österreichisches Ensemble für Neue Musik), Gadzina, Łosakiewicz, 2 vn / Moryto, org), I like Trigonalia (98. Furch-Bargielska, gtr / Koźlik, J.S. Bach (*97. Saga duo); composers / compositions / performers / 1956–2019 acc / Skoczyński, perc / Polish Radio Orch. / BASKAK + POP: I Put a Spell on You (2016. Gazon); Beksiak, voice / Popp, electronics); Bark, Jan: see Fatalitäten; Bastien, Pierre: Mecanium (*95. installation); Bark, Jan – Folke Rabe: Bolos (*66. Battistelli, Giorgio: Erlebnis (*2003. Algoritmo Kulturkvartetten), Polonaise Ensemble / Angius); (**66. Kulturkvartetten), see also 1) Bauckholt, Carola: Emil will nicht schlafen… Fatalitäten, 2) New Culture Quartet, The; (*2015. Kammer, voice / Janáček Barlow, Klarenz (Clarence): Musica alla Vostra Philharmonic Orchestra Ostrava / Nagy / commodità (*88. Uitti, vc / tape), otodeblu Okoń-Makowska, sound), hellhörig music (*2010. Barlow, computer), septima de facto theatre (*2011. Nopper, sopr / van der Poel, (**2010. Barlow, computer); m-sopr / Horn, Brt / Bugallo, pf / Cellotrio Blu Barraqué, Jean: Chant après Chant / Schlagquartett Köln / Zoro Babel, sound and (*72. Nendick, sopr / Pludermacher, pf / light projection / Bauckholt, dir.), Treibstoff Les Percussions de Strasbourg / Bruck); (*2004. Thürmchen Ensemble / Oña); Barraud, Henri: Offrande à une ombre Bauer, Jerzy: Pantatonium (2019. Przybylski, (*56. Orch. National de la RTF / Martinon); org), Sonata in One Movement (91. A. Bauer, Barrett, Natasha: Deconstructing Dowland vc / Tatarski, pf); (*2010. Östersjö, gtr / Barrett, live Bayle, François: Espaces inhabitables (*67. electronics); tape), Motion-Emotion (*87. tape), Zenith Barrett, Richard: Codex I (*2007. Elision (**64. Ensemble Instr. de Musique Ensemble), Interference (*2011. Rosman, Contemporaine / Simonovitch); cl cb), Life-form (*2019. Deforce, vc / Delges, bazGRANIE. Concerto for Painter, Actor and sound), Ne songe plus à fuir (*88. Uitti, vc); Electronics (**2018. Bielenia, actor / Kiwer, Barrett, Richard – Ute Wassermann: medusa electronics, sound design / Mart, paintings, (**2004. Wassermann, voice / Barrett, live drawings / Peszat, composition, electronics electronics); / Wyszkowska, Ptak, sound); Barrière, Françoise: Dessus la mer Bázlik, Miro: Ballad about Wood (*89. tape), (*97. Szwajgier, sopr / tape); Epoche II (**88. Podhoransky, vc / Slovak PO, Barroso, Sergio Fernández: Concerto Bratislava / tape / Režucha); for Two Pianos, Percussion and Audience Becker, Günther: Fragmente aus ‘ (*72. Dutkiewicz, pf I / from tape, pf II / an die Nacht’ (*84. Collegium Vocale Köln), Krzyżaniak, Iwicki, Ptaszyńska, perc), Metathesis (*74. Behrend, gtr), Stabil-Instabil Yantra IV (*85. Arizpe, fl / tape); (*68. XLII World Festival of the ISCM. Barry, Gerald: Piano Quartet (*96. Örmény, pf / Silesian PO / Stryja), Transformationen (70. members of V. Duda String Quartet); Gruppe MHZ / Kölner-Rundfunk-Sinfonie- Bartholomée, Pierre: Chanson (*65. Orchester / Rowicki), Tria paidia Voliotika Kuijken, vc); (**80. Music Workshop); Bartók, Bela: 14 Bagatelles, Op. 6 (95. Bedford, David: Gastrula (*73. Polish Radio Esztényi, pf), Bluebeard’s Castle (61. concert NSO / de Carvalho), Music for Albion performance. Szoenyi, m-sopr / Farago, Moonlight (*66. Dorow, sopr / Music 266 \ bass / Cracow PO / Markowski), Cantata Workshop), The Way of Truth (*80. Electric profana (63. Nikodem, ten / Hiolski, bar / Phoenix), Two Poems (*65. NP Choir / NPO and Choir / Krzemieński), Concerto for Kuklewicz; 73. poem No. 1. Radiokören B Orchestra (56. Polish Radio NSO / Krenz; Stockholm / Ericson); 59. Hungarian Radio and TV SO / Lehel; 70. Bedrossian, Franck: Charleston (*2017. Polish Radio NSO / Kord), Contrasts (62. European Workshop for Contemporary Wiłkomirska, vn / Szulc, cl / Szamotulska, Music / Bohn); pf), Divertimento (64. Hungarian State PO / Beecroft, Norma: Tre pezzi brevi (*63. Lehel; 68. Sofia Chamber Orch. / Gazzelloni, fl / Pierre, hp); Kazandjiyev; 72. Cluj Philh. Chamber Orch. / Behr, Stefan: Sixteen Pieces for Nine Cristescu; 76. Polish Chamber Orch. / Instruments (**76. Instrumental Ensemble Maksymiuk), Eight for Two Violins (from of NP / Witkowski); 44 Duets, Nos: 37, 28, 44, 33, 39, 34, 29, 41) Behrend, Siegfried: Modulus (*74. (56. Dubiska / Umińska), Four Pieces for Behrend, gtr); Orchestra, Op. 12 (63. Polish Radio NSO / Beil, Michael: Doppel (*2018. Zakrzewska, Krenz), Mikrokosmos (Nos: 97, 107, 144) (95. Świgut, 2 pf / Wyszkowska, Ptak, sound / Esztényi, pf), Music for String Instruments, video), Mach Sieben (*2015. Nakamura, pf); Percussion and Celeste (60. NPO / Rowicki; Belschner, Torsten – Bernd Lintermann: 81. Budapest SO / Lehel; 91. Sinfonia SonoMorphis (*2000. ZKM Karlsruhe); Varsovia / Nowak), Out of Doors – Szabadban Benassi, Elisabetta – : Weltall (96. Kocsis, pf), Piano Concerto No. 1 (63. (*2010. Benassi, video / Ronchetii, music); Schmidt / Dresdner PO / Bongartz), Piano Beneš, Juraj: Intermezzo 3 (*2001. Škuta Concerto No. 2 (60. Pinter / Polish Radio NSO & Škutova, 2 pf), Piano Concerto No. 3 (*2006. / Krenz), 6 Pieces from Jugend am Klavier Lacková, pf / Polish Radio NSO / Chmura); (95. Esztényi, pf), Sonata No. 2 for Violin and Benguerel, Xavier: Versus (*74. Behrend, gtr); Piano (63. Michalak / Marchwiński), Sonata Benjamin, George: At First Light (*89. London for Two Pianos and Percussion (61. Duo Sinfonietta / Masson), Ringed by the Flat Kontarsky / Caskel and König; 96. Kocsis Horizon (*84. Wrocław PO / Pijarowski); and Mocsári / Rácz and Holló), String Quartet Bennett, Richard Rodney: Morning Music (*99. No. 1, Op. 7 (62. Holland String Quartet), Wind Orch. of Royal Northern College of String Quartet No. 2 (66. Dimov String Music, Manchester / Reynish), The House of Quartet), String Quartet No. 3 (63. Sleepe (*76. The King’s Singers), This World’s Kyndelkvartetten), String Quartet No. 4 (58. Joy (**60. Nendick, sopr / Bennett, pf); Juilliard String Quartet; 87. Wilanów String Berberian, Cathy: Stripsody (*74. Berberian, Quartet), String Quartet No. 5 (*56. Tátrai m-sopr), Quartet), The Miraculous Mandarin (*58. see also From Monteverdi to the Beatles; orchestral suite. Polish Radio NSO / Krenz; Berenguer, José Manuel: Mu (*97. tape); 60. ballet. Ballet Ensemble and Orch. of Berg, Alban: Drei Bruchstücke aus Wozzeck, the Baltic Opera / Jarzynówna-Sobczak, Op. 7 (64. Łukomska, sopr / Polish Radio choreography / Latoszewski, musical dir.; NSO / Krenz), Drei Orchesterstücke, Op. 6 70. orchestral suite. The All-Union Radio (*58. NPO / Rowicki), Drei Sätze aus der and TV SO / Rozhdestvensky), Violin Concerto Lyrischen Suite (*65. Polish Radio NSO / (90. Gitlis / NPO / Tabachnik); Krenz), Fünf Orchesterlieder, Op. 4 (*65. Łukomska, sopr / Polish Radio NSO / Krenz; Duval, vl / Żymełka, perc), Perspectives (*58. *90. arr. by D. Wagenaar. Hardy, m-sopr / tape), Quartetto d’archi (*61. Novák String Schönberg Ensemble / de Leeuw), Quartet), Recital I (for Cathy) (*78. Berberian, Kammerkonzert (66. Utrecht, pf / Wiłkomirska, m-sopr / instrumental ensemble / composers / compositions / performers / 1956–2019 vn / Orch. de Chambre de Lausanne / Maksymiuk), Requies (*92. Radio Kamerorkest Desarzens; 80. Richter, pf / Kagan, vn / Hilversum / Metzmacher), Rounds (*72. Instrumental Ensemble of Moscow Chojnacka, cemb), Sequenza I (*59. Gazzelloni, Conservatory / Nikolayevsky), Lulu (*71. fl), Sequenza II (*71. U. Holliger, hp; 2002. Bova, Deutsche Oper am Rhein / Reinhardt, staging / hp), Sequenza III (*72. Auerbacher, sopr; 74. Wich, musical dir.), Lulu-Symphonie (61. Berberian, m-sopr; 2003. Castellani, sopr), Marciniak, sopr / Silesian PO / Stryja; 65. Sequenza V (*68. Dempster, tbn; 88. Schiaffini, Łukomska, sopr / Polish Radio NSO / Krenz), tbn; 98. Lindberg, tbn; 2002. Lomuto, tbn), Lyrische Suite (*56. Quatuor Parrenin), 3 songs Sequenza VII (*71. H. Holliger, ob), Sequenza VIII from Op. 2: Schlafend trägt man mich in mein (*91. Beths, vn; 2002. Pryn, vn), Sequenza XIII Heimatland; Nun ich der Riesen stärksten (2002. Lenko, acc), Sequenza XIV (*2004. überwand; Warm die Lüfte (*58. Rehfuss, bar Waage, vc), Sinfonia (*99. Camerata Silesia / / Nadgryzowski, pf), 3 songs from Sieben NPO / Michniewski), Thema (Omaggio a Joyce) frühe Lieder: Nacht; Im Zimmer; Die Nachtigall (*60.; 2003. tape; 61. Berberian, m-sopr / tape; (61. Pears, ten / Britten, pf), Streichquartett, 2006. Vidolin, live electronics), Voci (Folk Op. 3 (62. LaSalle Quartet; 98. Silesian Songs II) (*2003. Kashkashian, vla / Sinfonia String Quartet), Violinkonzert (*58. Szeryng / Varsovia / Rivolta); Polish Radio NSO / Krenz), Wozzeck, Op. 7 Bernaola, Carmelo Alonso: Musicas (*67. Deutsche Staatsoper, Berlin / Kelch, da camara (*68. XLII World Festival of staging / Rennert, musical dir.; 84. Ensemble the ISCM. Polish Radio and TV Chamber of the Grand Theatre, Warsaw / Grzesiński, Orch., Katowice / Taverna), Superficie No. 3 staging / Satanowski, musical dir.); (*69. Grupo Alea / Gil); Berge, Håkon: Nanawatai (**98. Sisu Berstad, Ragnhild: Cardinem (*2015. Percussion Trio / Walczak, Kanki, visual European Workshop for Contemporary realisation); Music / Bohn / Guziołek-Tubelewicz, sound); Bergen, Peter van: Factorseries (*97. Loos Bertomeu, Augustin: Pantalán (*68. XLII World Ensemble), Factorseries FL. 1 + FTE. 5 Festival of the ISCM. Silesian PO / Stryja); (*2001. Loos Ensemble / computer); Bertrand, Christophe: Aus (*2017. Guńka, sax Berger, Jonathan: A Pocketful of Posies / Górczyński, cl / Zakrzewska, pf / Biel, vla), (*84. tape); Vertigo (*2017. Kośmieja, Vassilakis, 2 pf / Berger, Roman: Adagio for Jan Branny Polish Radio NSO / Liebreich); (*88. Bogacz, vn / Ruso, pf), Convergence III Beyer, Frank Michael: Streicherfantasien zu (2002. Koziak, vc), Copernicus Epitaph (*89. einem Motiv von (*84. tape), Improvisation sur Herbert (**2007. Polish Chamber Orch. / Maksymiuk), String Kryger, sopr / Camerata Silesia / Sinfonia Quartet No. 3 ‘Missa’ (*86. Wilanów String Varsovia / Lyndon-Gee), Missa pro nobis Quartet); (*2011. Šlepkovská, m-sopr / Beňačka, Bialobžeskis, Martynas – Antanas Jasenka, narrator / NPO and Choir / Nagy), Requiem Vytautas V. Jurgutis, Jonas Jurkūnas: Venta da camera – with a theme by Witold (*2014. Diissc Orchestra); Lutosławski (**98. Danish Trio), Soft. Bianchi, Oscar: Exordium (*2019. Basel / 267 November Music (*2002. Škuta, pf), Sonata Sinfonietta / Brönnimann), Mezzogiorno with a motive by Karol Szymanowski (*2002. (*2011. European Workshop for Contemporary Bogacz, vn / Varínska, pf), Transgressus Music / Bohn), Primordia Rerum (*2010. B (*96. tape), Wiegenlied (*2002. Kryger, Freszel, sopr / Österreichisches Ensemble m-sopr / Jankowska, pf); für Neue Musik / Tamayo); Berger, Theodor: La Parola (*56. Wiener Bianchini, Laura: Risveglio della Terra (2000. Symphoniker / Gielen); Halat, Lauks, Skoczyńska, 3 perc / live Berghmans, José: Ecce homo (73. Ballet electronics / tape); Ensemble and Orch. of the Grand Theatre, Biel, Michael von: Book for Three (*65. Krauze, Warsaw / Lazzini, choreography / Madey, Tilbury, 2 pf / Kawalla, vn), Fassung (*66. tape); musical dir.); Bielawski, Andrzej: Atlases 1995-2008 Bergman, Erik: Birds in the Morning, Op. 89 (2012. video projection for three screens); (**79. Helasvuo, fl / Helsinki Radio SO / Bieltiukov, Sergiej: Strontium 90 (*2000. Segerstam), Karanssi (**90. Toimii The Classic-Avantgarde Soloists’ Ensemble Ensemble); / Baidov); Bergstrøm-Nielsen, Carl: Bad Bathroom Bień, Mateusz: Shizzz… (*99. tape), Sinfony II (**2016. Górczyński, cl); (**2002. tape), Turdidae (94. tape); Berio, Luciano: Altra voce (*2008. Caroli, fl / Bieżan, Andrzej: Arcangel’s Sword (96. tape), Kubler, m-sopr / Giomi, Meacci, live Barricade (**2018. musical-theatrical electronics), A-Ronne (*2011. Neue happening; Komuna Warszawa / Laszuk, Vocalsolisten Stuttgart), Calmo concept and dir. / Rączkowski, musical (*97. Castellani, sopr / Ensemble cooperation / Krzyżanowski, concept InterContemporain / Spano), Circles (*63. cooperation), Collision (77. Piernik, tba / Berberian, m-sopr / Pierre, hp / Casadesus, Bieżan, pf), Isn’t it? (84.; 86.; 96. tape), Piano Masson, perc), Coro (*78. ORF-Orchester for All (**2018. interactive installation, und -Chor Wien / Segerstam), Cries of London Grodecki, Krzyżanowski, Esztényi, Dębski, (*76. The King’s Singers), 4 dédicaces (*2009. pf), see also Group of and Polish Radio NSO / Kaspszyk), Duetti per due Forging the Scythes; violini (90. pupils and teachers from Cracow Bikont, Piotr: see Chołoniewski, Marek – Music Schools / Stuhr, artistic dir.), Epifanie Piotr Bikont – Włodzimierz Kiniorski – (*74. Berberian, m-sopr / Polish Radio Krzysztof Knittel; and TV SO, Cracow / Taverna), Folk Songs Bingham, Judith: Where Light and Shade (*77. Berberian, m-sopr / Ensemble 20. Repose (*91. BBC Singers / Joly); Jahrhundert / Burwik), Il ritorno degli Birkenkötter, Jörg: /Abbruch (*94. snovidenia (*84. Monighetti, vc / NPO / Musikfabrik NRW / tape / Kalitzke); di Bonaventura), Laborintus II (97. Van den Birtwistle, Harrison: Cantata (*75. Manning, Boom, sopr / Czinczel, sopr / Wille, alto / sopr / Ensemble 20. Jahrhundert / Burwik), Sanguinetti, recitation / Südfunk-Chor Carmen arcadiae mechanicae perpetuum Stuttgart / Ensemble InterContemporain / (*90. Schönberg Ensemble / de Leeuw), tape / Manson), Linea (*87. Esztényi, Clarinet Quintet (*99. Heaton, cl / Kreutzer Witkowski, 2 pf / Skoczyńska, vbf / Skoczyński, Quartet), Linoi II (*69. The Pierrot Players), mar), Momenti (63. tape), Naturale (2007. Four Songs of Autumn (*93. Bryn-Julson, sopr / Wilanów String Quartet), Melencolia I Blomdahl, Karl-Birger: Fioriture (*64. Polish (*78. Hacker, cl / Scottish NO / Markowski), Radio NSO / Krenz); Monody for Corpus Christi (*64. Dorow, sopr / Blomqvist, Anders – Åke Parmerud: live composers / compositions / performers / 1956–2019 Tomaszczuk, fl / Iwanow, vn / Gnida, hrn), electronic music (*88. Blomqvist and Secret Theatre (*89. London Sinfonietta / Parmerud, live electronics); Masson), Tragoedia (*68. XLII World Festival Błażejczyk, Wojciech: Angels of Peace (**2017. of the ISCM. Polish Radio and TV Chamber Ensemble Nostri Temporis), Theory of Orch., Katowice / Taverna), Ut heremita solus General Relativity (**2018. Kwartludium / (*69. The Pierrot Players / Birtwistle); Błażejczyk, electronics / Migas, sound), Björkenheim, Raoul: 3 days (*98. European Trash Music (2016. Grzywacz, voice / Improvisation Orch.); Bojanowicz, vc / Frąckiewicz, acc / Björkenheim, Raoul – Birgit Ulherr – Albert Andruszczenko, cl b / Błażejczyk, Márkos – Christer Irgens-Møller: The large objectophones, chtr elektr. / Kowalski, trio (*98. Björkenheim, gtr / Irgens-Møller, pf Kozłowski, Lorent, objectophones / Bereza, and synt / Márkos, vc / Ulherr, tr); live electr. / Niedziałek, dir. / Migas, sound); Blacher, Boris: Concerto for Violin and Orchestra Bodin, Lars-Gunnar: Best Wishes from (*93. Edinger / Sinfonia Varsovia / Penderecki), the Lilac Grove (**95. tape), Enbart för Kerstin Poème (*77. NDR Sinfonieorchester / Krenz); (*98. text-sound composition), Epilogue, Black, Annesley: Snow Job (*2013. European Rhapsodie de la Seconde Récolte (*83. tape), Workshop for Contemporary Music / Bohn), For Jon II. Retrospective Episodes (*86. tape), tender pink descender (*2014. Molinari, cl cb On speaking terms: Poem No. 4 (*98. / Nabicht, cl cb); text-sound composition), Pour traverser Blackford, Philipe: Interiors Inward Turns la mémbrane de l’espace-temps (*93. tape), the Ivory Key (*93. tape); Prologue (*78. tape); Blecharz, Wojciech: 3rd phase (2017. Boesmans, Philippe: Sonnance I (*65. F. and Frąckiewicz, Łuc, 2 acc), Means of Protection P. Bartholomée, 2 pf); (**2012. Radziejewska, m-sopr / TWOgether Boeswillwald, Pierre: Pathos ad Libitum Duo), (one) [year] (later) (**2014. Xiao, (*97. tape); counter-ten / Forbidden City Chamber Bogusławski, Edward: Apokalipsis (67. Orchestra / Liu), Rechnitz. Opera Bardini, recitation / NPO and Choir / (The Exterminating Angel), performative Rowicki), Canti (**68. Woytowicz, sopr / NPO version of the opera based on Elfriede / Rowicki), Concerto per oboe e orchestra, new Jelinek’s play (**2018. Kosiński, Kuta, version (**70. Faber / Kölner-Rundfunk- Łotocki, Smagała, Tyndyk, Żulewska, actors Sinfonie-Orchester / Rowicki), Impromptu / Bauer, Bojanowicz, Koziak, Zdunik, 4 vc / pour fûte, alto et harpe (*75. Warsaw Harp Kalwat, dir. / Muskała, translation, Trio), Intonazioni I (64. Instrumental adaptation, dramaturgy / Bauer, Blecharz, Ensemble of Silesian Philh. / Stryja), Musica Kalwat, artistic supervision over actors’ and concertante per saxofono alto e orchestra musicians’ improvisation); (**83. Pituch / Rundfunk-Sinfonieorchester Bloch, Augustyn: Abide with Us, Lord (*87. Berlin / Rögner), Preludi e cadenza BBC Scottish SO / Maksymiuk), Anenaiki (86. Lasocki, vn / Bożek-Musialska, pf); (79. Ars Antiqua / Experimentalstudio Bois, Rob du: Musique d’Atèlier (**69. Music der Heinrich-Strobel-Stiftung Workshop), Pastorale V (*67. Gaudeamus 268 \ des Südwestfunks / Jaśkiewicz), Ayelet String Quartet), Symposion (83. Cracow Oboe (**68. XLII World Festival of the ISCM. Quartet); Łukomska, sopr / Hiolski, bar / Bokanovsky, Michèle: Pour un pianiste B Hanuszkiewicz, recitation / Poznań Boys’ (*79. Frémy / tape); Choir and Soprano Ensemble of Cracow Bondt, Cornelis de: De Tragische Handeling / Philh. / Silesian PO / Stryja), Awaiting (**64. Actus Tragicus (*97. Loos Ensemble), Ballet Ensemble and Orch. of the Grand Die Wahre Art (*2003. Bouwhuis, pf / Polish Theatre, Warsaw / Gruca, choreography / Radio NSO / Chmura), Grand Hotel (*99. Madey, musical dir.), Canti per coro ed organo Pace, pf), Karkas (*2010. Sinfonia Varsovia / (*86. Bloch, org / Schola Cantorum Panis, live electronics / video projection / Gedanensis / Łukaszewski), Carmen Siebens); biblicum (*80. Łukomska, sopr / London Bonin, Matej: Kaleidoscope (*2013. Ensemble Sinfonietta / Bloch), Dialoghi (**66. Modern / Heil); Wiłkomirska, vn / Orch. RAI Torino / Bons, Joël: First Edition (*93. Nieuw Ensemble Markowski), Enfiando (*71. Silesian PO / / Spanjaard); Stryja), Espressioni (61. Łukomska, sopr / Bofikovec, Pavel: Piano Concerto (*60. Jemelik Silesian PO / Stryja), Exaltabo Te (89. RIAS- / Czech PO / Ančerl); Kammerchor / Creed), For Thy Light Is Come Borkowski, Marian: Images II (86. Lasocki, vn); (89. Malanowicz, org / Boukołowski, narrator Bortnowski, Marcin: And Night Will Be No / Schola Cantorum Gedanensis / Silesian PO More (**2010. Baran, acc / Aukso / Moś), / Bloch), Gilgamesh (**69. NP Choir / And There Was No More Sea (2013. Silesian PO / Stryja), Jubilate (**75. Zacher, Rupocińska, cemb / Aukso / Moś), org), Musica per clarinetto e quattro archi Expectancy (2016. Bauer, vc / European (**85. Brunner / Wilanów String Quartet), Workshop for Contemporary Music / Bohn), Musica per tredici ottoni (*91. Brass Four Quartets for four computers (**2009. Ensemble of the NPO / Bloch), Oratorio Laptop Ensemble), Easter Music (**2005. (**83. Serafin, org / Polish Chamber Orch. / The Classic-Avantgarde Soloists’ Ensemble Maksymiuk), Salmo gioioso (*72. Łukomska, / Baidov), It’s time (**2003. New Music Orch. sopr / Wind Quintet of Polish Radio and TV, / Bywalec), …looking into the heart of the light, Katowice / Bloch), Supplications (*84. the silence (**2008. Polish Radio NSO / W. Boettcher, vc / U. Trede-Boettcher, pf), Kaspszyk), Pieces of Light (**2003. Dziubek, The Layers of Time (**78. Polish Chamber acc / Rupocińska, cemb / Bortnowski, Orch. / Maksymiuk; 2006. Polish Radio computer), White Angels (**2002. Aukso / Chamber Orch. ‘Amadeus’ / Duczmal), Thou Moś); Shalt Not Kill! (*94. Roberts, bar / Łapiński, Bose, Hans-Jörgen von: Vier Madrigale aus vc / NDR Chor / Polish Radio NSO / Wit), ‘Die Leiden des jungen Werthers’ (*87. Neue Trio per violino, violoncello e pianoforte (98. Vocalsolisten Stuttgart / Schreier); Danish Trio), Very Sleeping Beauty (**74. Böttger, Thomas: Fünf Rilke-Lieder Soloists, Ballet Ensemble and Orch. of (*83. Simon, m-sopr / Rundfunk the Grand Theatre, Warsaw / Gruca, staging Sinfonieorchester Berlin / Rögner); and choreography / Nowakowski, musical Boucourechliev, André: Archipel III (*72. dir.), Wordsworth Songs (**76. Hiolski, bar / Pludermacher, pf / Les Percussions Polish Chamber Orch. / Maksymiuk); de Strasbourg), Grodek (*65. Dorow, sopr / Percussion Ensemble of Poznań Philh. Brødsgaard, Anders: Piano Trio (*98. Danish and Les Percussions de Strasbourg / Trio); Markowski), Signes (*63. Gazzelloni, fl / Bromboszcz, Stanisław: Con tensione (**2012. Rzewski, pf / Casadesus, Masson, perc); Ensemble intercontemporain / Davin), composers / compositions / performers / 1956–2019 Boulanger, Richard: Asleep in Wawel’s Shadow Images (**2009. Koziak, vc / tape); (*90. tape), I Know of No Geometry (*90. Brooks, William: Madrigals (*80. Electric Boulanger, computer / tape); Phoenix); Boulez, Pierre: Dérive (*87. Musica-Viva- Brophy, Gerard: Chrome (**85. Wind Quintet Ensemble / Wirrmann; 2003. Polish-German Da Camera); Youth Ensemble / Bohn; 2015. Talea Brown, Earle: December 1952 (2011. students Ensemble / Baker), Dérive 2 (*2006. New of the Adam Mickiewicz Primary School Music Orch. / Deroyer), …explosante-fixe… No. 187 in Warsaw / Ługowska, Poore, dir.), (*88. Forestier, vibr / Experimentalstudio Folio (*99. Blum, fl / Schleiermacher, pf), der Heinrich-Strobel-Stiftung Hodograph (65. Ensemble Instr. Musiques des Südwestfunks / Richard, sound), Nouvelles Bruxelles), 4 Systems (*99. Blum, Figures-Doubles-Prismes (*72. Grand Orch. fl / Schleiermacher, pf); RTB, Brussels / Hoffman), Improvisation sur Brümmer, Lundger: Thrill (*2000. ZKM Mallarmé (*60. Nendick, sopr / Instrumental Karlsruhe); Ensemble of NP / Markowski), Le Marteau Brün, Herbert: A Piece of Prose (73. tape), sans Maître (*66. Rodio, m-sopr / Ensemble Futility 1964 (*69. tape), More Dust with Prisma / Vetö), Le soleil des eaux (*63. Percussion (*85. Halat, Skoczyński, Nendick, sopr / Tappy, ten / Rehfuss, bar / Piechowiak, perc / tape), Plot (*67. Ranta, Cracow PO and Choir / Markowski), Livre perc), Trio for Trumpet, Trombone and pour cordes (*74. Orch. Philh. de la RTF / Percussion (*66. University of Illinois Amy), Livre pour quatuor (*59. extraits: Ia. Contemporary Chamber Players); Vivo, Ib. Moderato. Quatuor Parrenin; *84. Bruns, Viktor: The New Odyssey (59. Ballet 1981 version. Wilanów String Quartet), Ensemble and Orch. of the Grand Theatre, Notations I-IV, VII (*2005. Polish Radio NSO / Poznań / Gruber, choreography / Górzyński, Lyndon-Gee), Pli selon pli – Portrait musical dir.); de Mallarmé (*88. Whittlesey, sopr / Bruynèl, Ton: Cours des nuages (*2009. NPO / Sinfonieorchester des Südwestfunks Baden- tape / Wit), From the Tripod (**81. Female Baden / Gielen), Répons (*2005. Payeur, Choir of the Institute of Musical Pedagogy, Geoffroy, perc / Rivalland, cimb / Cottet, Plovdiv / Chetinyan), Intra (*74. Sparnaay, Vichard, 2 pf / Ghesquière, hp / IRCAM / b cl / tape), Phases (*75. Polish Radio NSO / Gerzso, computer / New Music Orch. / Roth), tape / Maksymiuk), Relief (*2001. Rituel in memoriam Maderna (*76. NPO / Malanowicz, org / tape), Toccare (*2002. Michniewski; 83. NPO / Kord), Sonate No. 2 Faulborn, cemb / tape; 2006. A. de Man, (*59. Mercenier, pf; 77. Pollini, pf), Sonate cemb / tape), Translucent I (*77. Wilanów No. 3 (*99. Pace, pf), pour flûte String Quartet / tape); et piano (*59. Gazzelloni / Mercenier), Bruzdowicz, Joanna: Dum spiro spero Structures, livre I (*61. Duo Kontarsky, 2 pf), (*83. Kotnowska, fl / tape), String Structures, livre II (*65. Duo Kontarsky, 2 pf); Quartet No. 1 ‘La Vita’ (*86. Varsovia Bozay, Attila: Improvisations (*75. Bozay, String Quartet); ), Pezzo sinfonico No. 2 (*81. Budapest Buck, Ole: Punctuations (*69. Silesian PO / / 269 SO / Lehel); Stryja); Božić, Darijan: Audiospectrum (*76. Slovene Buczek, Barbara: Anekumena (**75. PO, Ljubljana / Nanut); fragments: IV, V, II. Polish Radio NSO / B Bozza, Eugène: Scherzo (*58. Sabatier, pf); Warzecha), ‘Transgressio’. Second String Brahms, Johannes: Symphony No. 4 in E Minor, Quartet (87. Wilanów String Quartet; Op. 98 (56. Wiener Symphoniker / Gielen); 2006. Dafô String Quartet), Microsonata Brant, Henry: Cerberus (**77. B. Turetzky, cb / (99. Halska, vn); N. Turetzky, fl picc); Buczyński, Paweł: Elegy in Memory Braun, Peter Michael: Transfer (*70. Kölner- of Tadeusz Baird (**92. Polish Radio Rundfunk-Sinfonie-Orchester / Gruppe MHZ Chamber Orch. ‘Amadeus’ / Duczmal), / Rowicki); Music of Falling Leaves (**81. Polish Bražinskas, Algis: At the Inn (*75. Tallinn Chamber Orch. / Maksymiuk), Oratio Chamber Choir / Juleoja), Chamber MCMLXXXII (**83. Januszewska, sopr / Symphony (*71. Lithuanian Chamber Orch. / Polish Chamber Orch. / Maksymiuk), Sondeckis); Three Autumn Landscapes (85. Wind Bredemeyer, Rainer: Serenade 3 für H. E. Quintet Da Camera); (*73. Gruppe Neue Musik Hanns Eisler / Buene, Eivind: see Ratkje, Maja Solveig Pommer); Kjelstrup – Ørjan Matre – Eivind Buene – Brindus, Nicolae: Infrarealism (*81. Christian Eggen – POING; Mihailescu, ten / F. Popa, cl / T. Popa, pf / Buess, Alex: Khat (*2006. Ensemble Phoenix / Geavu, actor), Kitsch-N (*77. Popa, cl / tape); tape), Match (**73. Ars Nova Cluj / tape / Bujarski, Zbigniew: Cassazione per Natale Taranu), Soliloque (*71. Musica Nova (99. Wind Orch. of Royal Northern College Bucharest); of Music, Manchester / Reynish), Chamber Briones, Alejandro Franco: Is there anything Composition (64. Bojanowska, sopr / Musica outside my home’s inside? (**2016. viva Pragensis / Vostřák), Concerto per archi Górczyński, cl); (80. Wiłkomirska, vn / Polish Chamber Orch. Britten, Benjamin: Passacaglia from the opera / Maksymiuk), Concerto per archi II (96. ‘Peter Grimes’ (59. Orch. de la Suisse Miecznikowski, vc / Polish Radio Chamber Romande / Ansermet), Peter Grimes (*58. Orch. ‘Amadeus’ / Duczmal), Contraria (**66. Baltic Opera Ensemble / Brégy, staging / Orch. RAI Torino / Markowski), El Hombre Latoszewski, musical dir.), Seven Sonnets of (**74. Gadulanka, sopr / Malewicz-Madey, Michelangelo (*61. Pears, ten / Britten, pf), m-sopr / Artysz, bar / NPO and Choir / Six Hölderlin Fragments (*61. Pears, ten / Markowski), Gardens (90. Towarnicka, sopr / Britten, pf), Six Metamorphoses after Silesian PO / Stryja), Musica domestica (63. Faber, ob), Spring Symphony (*56. (**77. Polish Chamber Orch. / Maksymiuk), Stachurska, sopr / Winiarska, m-sopr / Peirene (2006. SO of the Academy of Music Bachleda, ten / Cracow Philh. Boys’ Choir / in Kraków / Czepiel), Quartet for the Advent Polish Radio and TV SO and Choir, Cracow / (85. Wilanów String Quartet), Quartet for Gert), Variations on a Theme of Frank Bridge, the Opening of a House (81. Wilanów String Op. 10 (83. Polish Chamber Orch. / Quartet), Similis Greco I (**79. NPO / Wit), Maksymiuk); The Birth (**86. Silesian PO and Choir / Cracow Radio and TV Choir / Stryja), version. Musique et scène d’aujourd’hui; The Fear of Birds (94. Boesche, vn / Ferens, 2015. selection: 12, 32, 52, 54, 55. Freszel, vla / Pilch, perc); sopr), String Quartet in Four Parts (2000.

composers / compositions / performers / 1956–2019 Bukowski, Ryszard: String Quartet No. 3 Arditti String Quartet), Variations II (*64. (**84. Wilanów String Quartet); Musica viva Pragensis / Cage; 74. Music Bunin, Revol: Concerto for Piano and Chamber Workshop), Variations III (*64. Musica viva Orchestra (*64. Lubimov / Moscow Chamber Pragensis / Cage), see also Klang / Licht / Orch. / Barshay); Duft-Spiele; Burkhard, Willy: Frage, Op. 9 (*58. Nos: 1, 2, 8. Cage, John – Lou Harrison: Double Music Rehfuss, bar / Nadgryzowski, pf), Neun (*89. Amadinda Percussion Group); Lieder, Op. 70 (*58. Nos: 2, 8. Rehfuss, bar / Cale, John: see Riley, Terry – John Cale; Nadgryzowski, pf); Calon, Christian: Portrait d’un visiteur Burlas, Martin: Music for Robert Dupkala (*94. tape); (*99. Icebreaker / McAlindin); Camarero, César: Klangfarbenphonie (*2008. Burt, Warren: War is a Dumb Idea Rosado, pf / Plural Ensemble / Panisello); (*94. Harvey, pf); Campbell, Stuart: Quaquaversal (*94. Busoni, Ferruccio: Berceuse élégiaque, Op. 42 Harvey, pf); (*90. arr. for 9 instr. by E. Stein. Schönberg Campos, Jorge E.: Bora-Bora (*2008. DeLuca, Ensemble / de Leeuw), Turandot-Suite b cl / Zalupe, perc / Guziołek-Tubelewicz, (66. Orch. RAI Torino / Rossi); tape); Bussotti, Sylvano: Ancora odono i colli (*72. Cantón, Edgardo: Pièce avec Schola Cantorum Stuttgart / Gottwald), (*64. Sibon-Simonovitch / Ensemble Brutto, ignudo (*85. Sparnaay, b cl), Instr. de Musique Contemporaine / La Passion selon Sade (*75. Ross, sopr / Simonovitch), Voix Inouies (*67. tape), Ensemble Teatromusica Roma / Panni), see also Mobile […]; La vergine ispirata (*84. Chojnacka, cemb), Capdevielle, Pierre: Ouverture pour ‘Le Pédant ‘O’ – Atti vocali from La Passion selon Sade Joué’ (*56. Orch. National de la RTF / (*74. Berberian, m-sopr), Phrase à trois Martinon); (*69. members of Quartetto della Società Capdeville, Constança: Mise-en-requiem Cameristica Italiana; 91. Deutsches (*81. Contemporary Music Group of Lisbon / Streichtrio), Pour clavier (*63. Rzewski), Peixinho); Rara (dolce) (*67. Vetter, fl a becco), Rara Cappelli, Gilberto: Quintetto (*94. Zephir (eco sierologico) (*69. Gomez, vc), Rondo Ensemble); brillante (*84. J. Méfano, pf), Tableaux vivants Caprioli, Alberto: Symphoniae 1-2-3 (*65. Duo Kontarsky, 2 pf), Torso (*61. (*99. Halska, vn / computer); Berberian, m-sopr / Bussotti, recitation / Capyrin, Dmitri: Septet (*Moscow Cracow Philh. Chamber Orch. / Markowski); Contemporary Music Ensemble / Butsko, Yuri: Chamber Symphony ‘The Solemn Vinogradov); Church Song’ (*73. Latvian Philh. Chamber Cardew, Cornelius: February Pieces (*63. Orch. / Lifšics); Rzewski, pf), Material (*93. Agon Ensemble / Cage, John: 4'33'' (2018. Zakrzewska, Świgut, Kofroň), Solo with Accompaniment (*67. 2 pf / video), 27’ 10.554’’ (*71. Ptaszyńska, Yadzinski, cl / Foss, pf), The Great Digest – perc), A Book of Music. Part One (*93. Paragraph 7 (*70. Tilbury, pf / Music 270 \ Rosenberg, Krzanowska, 2 pf), Amores Workshop), Third Orchestral Piece 1960 (83. Monighetti, pf / Skoczyński, perc; 89. (**62. Cracow PO / Markowski), Treatise Amadinda Percussion Group; 93. Dąbrowski, (*66. Cardew, vc / Bedford, Krauze, Tilbury, B–C perc / Krzanowska, Rosenberg, 2 pf), Aria pianos and various instruments; 94. (80. Hirst, m-sopr), Cartridge Music (*69. fragments. AMM Improvising Group; 2016. Music Workshop), Cheap Imitation (*72. Warsaw Stage Society Choir / Krych / performed as music to the ballet Second Bargieł, choreography), Why Cannot Car Be Hand. Merce Cunningham Dance Company / Closed (*60. Nendick, sopr / Bennett, pf); Cage, pf), Concerto for Piano and Orchestra Cardona, Alejandro: Sawutanaka – Tejidos (*64. performed as music to the ballet Antic Rebeldes II (*2014. Orquesta Experimental Meet. Merce Cunningham Dance Company / de Instrumentos Nativos / Prudencio); Tudor, pf / Musica viva Pragensis / Cage; 71. Carlstedt, Jan: String Quartet No. 1 Dutkiewicz, pf / Silesian PO / Taverna; 99. (*63. Kyndelkvartetten); Schleiermacher, pf / Blum, fl / Mykietyn, cl / Carter, Elliott: Adagio e Canto (*67. Williams, Żwirdowski, tbn / Kubica, vl / Syrnicki, vla / timp), A Mirror on Which to Dwell (*86. Rekść-Raubo, vc), Concerto for Prepared Shelton, sopr / Speculum Musicae / Black), Piano and Orchestra (*89. Corver / Asko A Symphony of Three Orchestras (*86. Polish Ensemble / Porcelijn), Credo In Us (96. Radio NSO / Wit), Changes (*89. Andersson, Kocsis, pf / Amadinda Percussion Group), gtr), Double Concerto (*65. Robertis, cemb / Essay (*86. tape), Fontana Mix (*60. tape), Utrecht, pf / Polish Radio NSO / Bour), Duo Fontana Mix with Aria (*61. Berberian, for Violin and Piano (*86. Hudson / Karis), m-sopr / tape), Fourteen (2007. Polish- Eight Etudes and Fantasy (*62. members of German Youth Ensemble / Bohn), Freeman the Dorian Quintet), Enchanted Preludes ( Etudes #16 (2014. Sadkowska, vn), Imaginary 98. Helasvuo, fl / Karttunen, vc), Gra (*94. Landscape No. 4 for 12 radios (2006. Romański, cl), Night Fantasies (*86. Karis, graduates and students of the Józef Elsner pf), (*2008. Orquesta Sinfónica Secondary Music School in Warsaw / de Radio Televisión Española / Tamayo), Knittel), Music for Amplified Toy Pianos Riconoscenza per (*86. (*2012. Romańczuk, Kupczak), Music for Hudson, vn), Scrivo in vento (97. Kotnowska, Marcel Duchamp (79. Monighetti, pf), Music fl), Sonata (*94. Harvey, pf), Sonata for Cello of Changes (*58. Tudor, pf), One9 (*2005. and Piano (*86. Barlett / Karis), String Miyata, shô), Perpetual Tango (*88. Quartet No. 1 (*60. Quatuor Parrenin), Mikhashoff, pf), Roaratorio (*96. tape), String Quartet No. 3 (*83. Arditti String Ryoanji (*86. Aitken, fl / Skoczyński, perc / Quartet), String Quartet No. 4 (*90. Arditti tape), Second and Third Constructions (89. String Quartet), Timpani Pieces (86: Amadinda Percussion Group), Six Melodies *Recitative, *Improvisation, Canto. Gottlieb, for Violin and Keyboard (*76. Beths / timp), To Music (*86. Schola Cantorum de Leeuw), Solo (*68. Dempster, tbn), Solo VII Gedanensis / Łukaszewski), Triple Duo (*96. Tiensuu, cemb), Solo for Voice I (97. (*86. Speculum Musicae / Palma; Skubis, sopr), Sonatas and Interludes (*81. 86. Ensemble Modern / Holliger); Tilbury, pf; 93. Rosenberg, pf), Song Books Casken, John: Amarantos (*80. London (Solos for Voice 3-92) (*74. two fragments. Sinfonietta / Zollman), Distant Variations Berberian, m-sopr; *75. Simone Rist (*99. Warsaw Sax. Quartet / Wind Orch. of Royal Northern College of Music, fl / Halska, vn / Ratusińska-Voss, vla / Manchester / Reynish), Firewhirl (*87. Lieske, gtr / Chołoniewski, computer Manning, sopr / Lontano / de la Martinez), instruments), Passage (**2001. Muzyka Music for a Tawny-Gold Day (*79. Ars Centrum / computer), WYSYG (94. composers / compositions / performers / 1956–2019 Cameralis Prague), To Fields We Do Not Know Chołoniewski, electronics), see also Iter / (*91. BBC Singers / Joly), Ty jedna (**87. Eter (Ither / Ether); Artysz, bar / Witkowski, pf / Gałązka, vc); Chołoniewski, Marek – Krzysztof Knittel: Cassidy, Aaron: I, purples, spat blood, laugh qub (**2010. installation); of beautiful lips (*2007. Elision Ensemble); Chołoniewski, Marek – Piotr Bikont – Casti, Fabrizio: L’apparenza reale (**2003. Włodzimierz Kiniorski – Krzysztof Knittel: Levine, fl picc); Aelita, sci-fi film prod. USSR, dir. Jakov Castiglioni, Niccolò: Aprèslude (*62. Polish Protazanov (2002. Freight Train: Bikont, Radio NSO / Krenz), Arabeschi (*77. Świątek, voice and camera / Chołoniewski, computer fl / Knapik, pf / Polish Radio NSO / Zender), instruments / Kiniorski, fl, sax and perc / Consonante (*67. MB-Zagreb Group / Knittel, electronic instruments / Baliński, Gjadrov), Gymel (*61. Gazzelloni, fl / Krauze, video); pf), Hymne (*94. Camerata Silesia / Szostak), Chong, Kee-Yong: Silence Cosmos (**2005. Morceaux lyriques (*84. Zoboli, ob / Polish Kairos Quartett); Radio and TV SO, Cracow / Katlewicz), Chopout, project composed of the following Rondels (*71. NPO / Rowicki), Salmo XIX (*81. pieces: Krzysztof Czaja Id, Andrzej Kopeć Szwajgier, sopr / May-Czyżowska, sopr / r-evolutio, Szábolcs Esztényi Torus (**2010. Polish Radio and TV SO and Choir, Cracow / Esztényi, Disklavier / Guziołek-Tubelewicz, Wit), Sic (*98. Helasvuo, fl / Savijoki, gtr), sound); Sinfonia con giardino (*79. NPO / Wit), Chowning, John: Stria (*79. tape), Phone Synchromie (*64. NPO / Rowicki), Tropi (*84. tape), Turenas (*90. tape); (*66. Ensemble Prisma / Vetö); Christensen, Anna Berit Asp: The Singing Cattaneo, Aureliano: Double (*2014. Trees (*2014. soundwork); Musikfabrik / Asbury), Violin Concerto Christmann, Günter – Detlev Schoenenberg (**2016. new version, Schafleitner, vn / – Hans Peter Haller: Harvest Work, group Polish Radio NSO / Pomàrico); improvisation (*79. Christmann, tbn and cb / Cavanna, Bernard: Trio avec accordion Schoenenberg, perc / Experimentalstudio (*2004. Majkusiak, acc / Sadkowska, vn / der Heinrich-Strobel-Stiftung Pałosz, vc); des Südwestfunks / Haller, sound); Cendo, Raphaël: Action Painting (*2014. Christou, Jani: Praxis for 12 (*76. Polish European Workshop for Contemporary Chamber Orch. / Maksymiuk, pf and Music / Bohn), Foris (*2019. Deforce, vc / conducting), Tongues of Fire (*91. Hatziano, Delges, sound), In Vivo (*2015. Lutosławski m-sopr / Hadjissimos, ten / Sakkas, bass / Quartet); Silesian PO and Choir / Swoboda); Cerha, Friedrich: Relazioni fragili (*61. Chyła, Wojciech: see Group of Intuitive Music; G. Cerha, cemb / Ensemble ’Die Reihe’ / Cienciała, Wiesław: Epiphorá II (*94. Cienciała, F. Cerha), Sinfonie 1975 (*78. ORF-Orchester computer live), From… to… (92. Cracow Wien / Segerstam), Spiegel I (**68. Percussion Group); XLII World Festival of the ISCM. NPO / Cilenšek, Johann: Symphonie No. 4 (*58. Markowski), Trombone Concerto (*2007. Rundfunk-Sinfonieorchester, Leipzig / / 271 Svoboda / Megaron Orch. / Warren-Green); Kegel); Chadabe, Joel: see Foss, Lukas – Joel Cincadze, Sulkhan: String Quartet No. 2 Chadabe; (*59. ); C Chafe, Chris: Remote Control (*91. Tonus Ciuciura, Leoncjusz: Creatoria II (**97. Finalis), Virga (*87. Sikorzak, hp / Chafe, Langman, fl / Pyzik, vc), Recontre I (**2008. electronic perc); Plural Ensemble / Panisello), Spirale I Chaloupka, František: Mašin Gun: The Seven (**68. Artysz, bar and perc), Spirale II (**72. Rituals for purging the Czech Lands from Instrumental Ensemble of NP / Witkowski); the Spirit of Communism (*2013. Ensemble Clementi, Aldo: Reticolo-4 (**69. Quartetto Modern / Heil); della Società Cameristica Italiana), Scherzo Chapela, Enrico: Ínquesu (*2008. NPO / (*86. Ex Novo Ensemble di Venezia); Urbański); Clozier, Christian: Au Matin (*97. tape); Charbonnier, Janine: see Barbaud, Pierre Clyne, Anna: rapture (*2008. DeLuca, cl / – Janine Charbonnier; Guziołek-Tubelewicz, tape); Chasalow, Eric: What is Danced… (and what is Coates, Gloria: Music on Open Strings not) (**2002. Bova, hp / tape); (*78. Polish Chamber Orch. / Maksymiuk), Chávez, Carlos: Toccata (*65. Les Percussions Valse triste (**80. Music Workshop); de Strasbourg); Cohen-Elias, Sivan: Riba (*2010. Chazan, sax / Chen, Qigang: Wu Xing (*2005. Slovak Radio Deutsch, electr gtr / Krause, sound); SO / Nagy); Coleman, Gene: A Page of Madness, live music Chen, Xiaoyong: String Quartet No. 2 (*2005. for the silent film by Teinosuke Kinugasa Kairos Quartett), Volatine (*2005. Ensemble (*2014. Phace / Pironkoff / Reiter, sound); TIMF / Bohn); Common, collective improvisation (2009. Chen, Yi: Chinese Fables (*2014. Forbidden Knittel, sampler and synth / Partyka, City Chamber Orchestra / Liu); electroacoustic objects / Staszewski, gtr / Chiari, Giuseppe: Valzer ‘Pum-Ta-Ta’ (*70. Trębicki, pf / Zagajewski, pipes, metal items Music Workshop), see also Enkyklopaideia; and computer / Walczak, Chrzanowski, Chichara, Paul Seiko: Logs (*73. Turetzky, cb); Ochotny, Jakóbowska, Świć, Bąk, Chin, Unsuk: Double Bind? (*2017. Sherry, vn / Andrzejewski, Bohdanowicz, visual activity); SWR Experimentalstudio), Gradus ad Constant, Marius: Moulin à prière (*72. infinitum II (**90. tape), ParaMetaString Chojnacka, cemb); (*2005. Kairos Quartett / tape), santika Constantinescu, Dan: Chamber Symphony Ekatala (*2005. Polish Radio NSO / (*73. Ars Nova Cluj / Taranu); Lyndon-Gee); Cope, David: Towers (83. Cracow Oboe Chizy, Edith Canat de: Quatrains (**2004. Quartet); Musicatreize / Hayrabedian); Copland, Aaron: Billy the Kid (64. Pittsburgh Chlewińska, Izabela: see Grudzień, Jacek – SO / Steinberg), Sonata for Violin and Piano Izabela Chlewińska; (*86. Hudson / Karis); Chołoniewski, Marek: Doubles (94. Knittel, Corghi, Azio: Intermedi e Canzoni Chołoniewski, electronics), Lighting 2 (*2002. Lomuto, tbn); (**97. Chołoniewski, electronic Correggia, Enrico: From the Dark Thrown instruments), Like Breathing (99. Ratusińska, to Bright Light (**76. Camerata Strumentale ‘Alfredo Casella’ / tape / Greche (77. Manning, sopr / Ensemble Peyretti), Unda (**90. Divertimento 20. Jahrhundert / Burwik), Piccola musica Ensemble / Gorli); notturna (*59. Silesian Philh. Chamber Orch. composers / compositions / performers / 1956–2019 Cowell, Henry: Four Combinations for Three / Markowski), Quattro liriche di Antonio Instruments (2004. Pryn, vn / Waage, vc / Machado (77. Manning, sopr / Ensemble Olsson, pf); 20. Jahrhundert / Burwik), Tre laudi (65. Craenen, Paul: Tubes (*2019. Craenen, van Dorow, sopr / Poznań PO / Markowski); Eck, performers / Czechowicz, Ptak, sound); Dambis, Pauls: Sea Songs (*75. Tallinn Creswell, Lyell: Speak for Us, Great Sea Chamber Choir / Juleoja), Stanza (*85. BBC Scottish SO / Maksymiuk); di Michelangelo (*73. Latvian Academic Crumb, George: A Haunted Landscape (*86. Choir / Cepitis); Polish Radio NSO / Wit), A Little Suite for Damiani, Giovanni: Affidare tutto a una musica Christmas, A.D. 1979 (*90. Nasveld, pf), (*94. Zephir Ensemble / La Licata); Ancient Voices of Children (*85. Lee, sopr / Dao, Nguyen Thien: May (86. Skoczyński, Sedov, boy’s sopr / Bolshoi Orch. Soloists / perc); Lazarev), Angels (*75.; 90. Wilanów String Dargaville, Tim: Canticles (*94. Harvey, pf); Quartet), An Idyll for the Misbegotten Darge, Moniek: see Raes, Gotfried-Willem (Images III) (*2005. Caroli, fl / Kraków – Moniek Darge; Percussion Group), Black Echoes of Time Dashow, James: Oro, Argento et Legno and River (*72. Polish Radio NSO / Lane), (*92. Schmitt, fl / tape), Reconstructions Celestial Mechanics (Makrokosmos IV). (*2002. Bova, hp / tape); Cosmic Dances for amplified piano four Daugherty, Michael: Beat Boxer (*92. Kronos hands (*90. Nasveld / Bogaart / Bolt), Quartet), Eurhythmic Toccata (*86. Chojnacka, Dream Sequence (Images II) (*2003. cemb / tape); Österreichisches Ensemble für Neue Musik Davidovsky, Mario: Synchronisms I / Kiradjiev), Federico’s Little Songs for (*64. Świątek, fl / tape), Synchronisms III Children (2012. Zamek-Gliszczyńska, sopr / (*67. Davis, vc / tape), Synchronisms IX Liebchen, fl / Nowakowska, hp), Gnomic (*96. Chiu, vn / tape); Variations (90. Nasveld, pf), Madrigals Davies, Peter Maxwell: A Mirror of Whitening (77. Szwajgier, sopr / Janeczek, perc / Light (*80. London Sinfonietta / Zollman), Kamionka, fl / Lutak-Modrini, hp / Mróz, cb), Antechrist (*69. The Pierrot Players / Davies), Makrokosmos I (76. Dutkiewicz, pf), Miss Donnithorne’s Maggot (*92. Manning, Makrokosmos II (*77. Fellegi, pf), Music m-sopr / The Matrix Ensemble / Ziegler), for a Summer Evening (Makrokosmos III) Sea Runes / House of Winter (*88. The King’s (*77. Esztényi, Witkowski, 2 pf / Skoczyński, Singers), Stedman Caters (*69. The Pierrot Lauks, perc), Night of the Four Moons Players / Davies), Stone Litany (*78. Manning, (*90. Rappé, alto / Gajewska, alto fl / sopr / Scottish NO / Gibson), The Martyrdom Zalewski, banjo / Wasiółka, vc / Skoczyński, of St. Magnus (*79. The Fires of London / perc), Otherwordly Resonances (*2007. Melvin, staging / Davies, musical dir.); R. and Z. Ibelhauptas, 2 pf), Processional Davies, Tansy: Forest (*2017. Watkins, (*90. Nasveld, pf), Star-Child (*90. Ljong- Woolley, Black, Thompson, 4 cr / NOSPR / Chung, sopr / E. Młynarski Music School Liebreich), Neon (*2007. Israel Children’s Choir / Silesian Philh. Male Choir / Contemporary Players / Nagy), House 272 \ Polish Radio NSO / Błaszczyk, Jarmołowicz, (*2014. Blaauw, tr / Polish Radio NSO / Kręgielewski, assistant-cond. / Wit, cond.); Kaspszyk); Curran, Alvin: For Cornelius Davis, Doug: see Nonimprovisation […]; C–D (*88. Mikhashoff, pf); Dąbrowski, Florian: Ballad (**76. Poznań Current, Brian: For the Time Being Boys’ Choir / Kurczewski), Soggetto (*2002. NPO / Wit); (**76. Poznań Boys’ Choir / Kurczewski); Cybulski, Krzysztof: Pneumatophones Deane, Raymond: Catacombs (*2004. Oshiro, (**2019. interactive installation); cl / Pryn, vn / Waage, vc / Olsson, pf); Cvetanov, Cvetan: Symphony No. 3 ‘1923’ (*73. Dearden, Ian: see Alvarez, Javier – Ian Bulgarian Radio and TV SO / Stefanov); Dearden; Czaja, Krzysztof: Dusk, Still (94. Mykietyn, cl / Debussy, Claude: En blanc et noir (61. Duo tape), Moment (**96. Hausenplas, vc / Kontarsky, 2 pf), Jeux (62. Polish Radio NSO Grzybowski, pf / tape), Votive Figures (97. / Krenz), Rondes de Printemps (66. Orch. RAI Mykietyn, cl / Grzybowski, pf / Rekść-Raubo, Torino / Markowski), Sonate pour flûte, alto et vc), see also Chopout; harpe (62. members of the Melos Ensemble), Czernowin, Chaya: Ina (*2012. Fabbriciani, b fl Trois chansons de Charles d’Orléans (87. / Experimentalstudio des SWR), Sahaf (Drift) chanson I and III. Groupe Vocal de France / (*2010. Ensemble Nikel / Krause, sound); Reibel); Dahlke, Kurt: Enchanted Rooms (*95. de Delás, José Luis: Umbra vitae (*2008. installation); Orquesta Sinfónica de Radio Televisión Dahlqvist, Jörgen: see Olofsson, Kent – Española / Tamayo); Jörgen Dahlqvist; Dediu, Dan: Cartoon-Variations on a Theme Dalach, Monika: Shout #1-3 (**2019. Plus- by Mozart Op. 51b (*2008. Profil Ensemble / Minus Ensemble / Knoop / Bereza, Soare); Niedźwiedź, sound); de la Fuente, Benjamin: Frôle (*2014. Dalbavie, Marc-André: In advance of Keravec, bagpipe); the broken time… (*2001. Court-Circuit / Del Boca, Basilio Maximiliano: Obra Valade); electroacústica (*2008. Okoń-Makowska, Dalby, Martin: Nozze di primavera (*85. Błażejczyk, sound); BBC Scottish SO / Maksymiuk); Delz, Christoph: Two Nocturnes Op. 11 (*2005. Dallapiccola, Luigi: Canti di liberazione Wirth, pf / Collegium Novum Zürich / Hirsch); (*66. Polish Radio and TV Choir, Cracow / De Mey, Thierry: Silence Must Be! (*2013. Polish Radio NSO / Krenz), Canti di Prigionia Hob-beats Percussion Group); (*60. NPO and Choir / Wisłocki), Cinque canti Dench, Chris: sum over histories (*62. Kulesza, bar / Instrumental Ensemble (*2007. Haynes, b cl / Rosman, cb cl); of NP / Madey), Concerto per la notte Denisov, Edison: Black Clouds (*88. Pekarsky, di Natale dell’anno 1956 (77. Manning, sopr / vibr), Chamber Symphony No. 2 (*97. Moscow Ensemble 20. Jahrhundert / Burwik), Contemporary Music Ensemble / Due studi (*91. Beths, vn / de Leeuw, pf), Vinogradov), Clarinet Quintet (*89. Brunner / Exhortatio (*73. Radiokören Stockholm / Wilanów String Quartet), Concerto for Flute, Ericson), Il Prigioniero (63. Soloists and Orch. Oboe, Piano and Percussion (*64. Kotik / Lang of the Grand Theatre, Warsaw / Bardini, / Wilde / Kieslich), Concerto for Flute, staging / Wodiczko, musical dir.), Liriche Vibraphone, Harpsichord and Strings (*96. Rochacka / Maślanka / Frąckowiak-Kapała / Pater, acc / tape), On the Edge of Light Polish Radio Chamber Orch. ‘Amadeus’ / (**2019. NPO / Hermanto / Pawełek, Duczmal), Crescendo e diminuendo (*68. Sofia interpretation of electroacoustic layer / Chamber Orch. / Kazandjiyev), Double Okoń-Makowska, Kunda, sound), Patjan composers / compositions / performers / 1956–2019 Concerto for Flute, Oboe and Orchestra (*81. (**97. Pilch, perc / tape), Pulsations (86. Nicolet / Holliger / Łódź PO / Markowski), tape), Silent Asphodels (**2006. Fabbriciani, D-S-C-H (**69. Music Workshop), fl / Koziak, vc / Vidolin, live electronics), In memoriam Witold Lutosławski (**94. TaBaMa (**99. tape), TaBar (2002. Wielecki, Sinfonietta Cracovia / Michniewski), Pain cb / Bień, Długosz, sound), Zakopane Liryki and Silence (**79. Ars Cameralis Prague), (**2004. Gańko, sax / Długosz, computer); Peinture (*76. Slovene PO, Ljubljana / Dobrowolski, Andrzej: A-La – Music for Michniewski), Requiem (*83. Towarnicka, sopr Orchestra No. 4 (**75. NPO / Markowski), / Kusiewicz, ten / NPO and Choir / Kord), Amar – Music for Orchestra No. 2 (**71. Radio Romantic Music (*73. Gruppe Neue Musik PO, Hilversum / Markowski), Eight Studies Hanns Eisler / Pommer), Sonata for Clarinet for oboe, trumpet, bassoon and double bass Solo (*78. Godek), The Blue Notebook (61. members of Silesian PO), Krabogapa (*90. Ferency, narrator / Poluektova, sopr / (70. Music Workshop), Music for Choir, Two Marczyk, vn / Koźlacz, vc / Esztényi, Groups of Wind Instruments, Double Basses Witkowski, 2 pf / Dziewulska, staging), and Percussion (**76. NPO and Choir / The Sun of Incas (*66. Kal, sopr / Hudba Michniewski), Music for Orchestra and Oboe dnéška / Kupkovič), The Woman and Birds Solo (90. Winiarczyk / Silesian PO / Stryja), (*2005. Moscow Contemporary Music Music for Orchestra No. 1 (**69. NPO / Ensemble / Vinogradov), Three Pieces for Markowski), Music for Orchestra No. 3 Cello and Piano (*70. Palm / Aloys Kontarsky), (**73. Sinfonie-Orchester des Hessischen Three Pictures by Paul Klee (*86. Buchholz, vla Rundfunks, Frankfurt / Iwaki), Music for / Ensemble Modern / Holliger), Trio for Oboe, Orchestra No. 6 (*83. Polish Radio NSO / Cello and Piano (*85. Trio Aulos), Variations Wisłocki), Music for Strings and Four Groups on Haydn’s Canon ‘Tod ist ein langer Schlaf’ of Wind Instruments (*65. NPO / Rowicki), (*86. Monighetti, vc / Georgian SO, Tbillisi / Music for Strings, Two Groups of Wind Kakhidze); Instruments and Two Loudspeakers (*67. Depero, Fortunato: Canzone onomalinguista Orch. Philh. de la RTF/ Markowski; 2006. (*74. Ensemble 4’33’’); Sinfonia Varsovia / Hirsch), Music for Tape Descent to Infernos (69. Ballet Sopianae, Pecs and Oboe Solo (*66. tape / Banaszek; 97. / Eck, choreography / A. Székely, preparation tape / Pędziałek), Music for Tape and Piano of music); Solo (72. tape / Krauze; 87. tape / Kapuściński; Dessau, Paul: Die Erziehung der Hirse (*58. 93. tape / Krzanowska; 2017. tape / Schellenberg, bar / Lidecke, recitation / Esztényi), Music for Tape and Solo Bass Rundfunk-Chor und –Orchester, Leipzig / Clarinet (*85. tape / Sparnaay), Music for Tape Kegel), Die Verurteilung des Lukullus No. 1 (62.; 63. tape), Music for Three (*67. Deutsche Staatsoper, Berlin / Accordions, Harmonica and Percussion (79. Berghaus, staging / Kegel, musical dir.), Warsaw Accordion Trio / Zgraja / Warsaw Drei Shakespeare-Sonette (*73. Trexler, sopr Percussion Group / Warzecha), Music for / Gruppe Neue Musik Hanns Eisler / Tuba Solo (77. Piernik), Passacaglia für TX Pommer), Lustige Variationen (*89. tape), Passacaglia – Music for Orchestra / 273 (*59. Gewandhaus-Quintett); No. 5 (*80. Het Residentie Orkest / Bour), Dessy, Jean-Paul: Fable ineffable (*2003. S for S (74. tape), String Quartet (**91. Ensemble Musiques Nouvelles / Dessy), Wilanów String Quartet), Symphony No. 1 D The Present’s presents (*2003. Ensemble (56. Silesian PO / Stryja); Musiques Nouvelles / Dessy); Dodge, Charles: Any Resemblance is Purely Detoni, Dubravko: Eine kleine Ramona Suite Coincidental (*86. Knapik, pf / tape), (**80. Music Workshop), Fairy Tale (*74. Cascando (*91. Dodge, speaker / tape), Ansambl Acezantez), Graphica II (**69. Music Fades, Dissolves, Fizzles (*97. tape), He Workshop), La Voix de silence (*74. Ansambl Destroyed Her Image from Speech Songs Acezantez), Tzigane (*76. Detoni, Došek, 2 pf (2009. Miso Music Portugal’s Loudspeaker / Slovene PO, Ljubljana / tape / Nanut); Orchestra / Azguime, live electronics and Dhomont, Francis: Points de fuite (*84. tape); sound projection), He Met Her in the Park Dillon, James: New York Triptych (*2015. Talea (*83. tape), Profile (*85. tape), Speech Songs Ensemble / Baker / Olko, sound); Shrouded (*78. tape), Viola Elegy (*91. B. Dodge, vla / Mirrors (*89. Andersson, gtr), Theatrum: tape), Waves (*99. La Barbara, voice / tape); figurae (**2007. Elision Ensemble / Navri), Doloukhanian, Alexander: Armenian Folk The Book of Elements, vol. I (*2004. Karlsson, Song; The Crane; The Talisman (60. pf), Vapor (*2000. Neue Vocalsolisten Doloukhanova, m-sopr / Yerokhin, pf); Stuttgart / Arditti String Quartet), Viriditas Dohmen, Andreas: infra (*2011. Neue (*2001. BBC Singers / Joly); Vocalsolisten Stuttgart); Dittrich, Paul-Heinz: Concert avec plusieurs Domanský, Hanuš: Praise of Life (*89. tape); instruments No. 3 (*81. Nicolet, fl / Holliger, Donatoni, Franco: Algo (*89. Andersson, gtr), ob / Łódź PO / Kessler and Rödger, sound Arpège (*90. Divertimento Ensemble / Gorli), transformation and engineering / Markowski), Black and White No. 2 (*79. Canino, Ballista, Concert avec plusieurs instruments No. 4 2 pf), Doubles (*72. Chojnacka, cemb), (**84. Canino, pf / Silesian PO / Dittrich), For Grilly (*62. Melos Ensemble / Donatoni), die anonyme stimme (*73. Gruppe Neue Lem II (*97. Stochl, cb), Marches I & II Musik Hanns Eisler), Kammermusik II (*74. (*2002. Bova, hp), Nidi (*88. Fabbriciani, fl Glaetzner, ob / Weber, vc / Erber, pf / tape); picc), Per orchestra (**63. Welin, org / Dixon, Willie: My Love Will Never Die Silesian PO / Donatoni), Puppenspiel II (*72. (Sokołowska, voice / Warsaw Stage Society Świątek, fl / Grand Orch. RTB, Brussels / Choir); R. Czajkowski), Refrain (*2001. Nieuw dj Lenar: improvsation (2018. dj Lenar, Ensemble / Hempel), Studio for Oboe (*86. electronics); Fabretti), The Heart’s Eye (*84. Wilanów Djordjević, Milica: Pomen II (*2018. Beckett, String Quartet); vla), Rdja (*2017. European Workshop for Dorda, Gerhard: Pax (**86. Schola Cantorum Contemporary Music / Bohn); Gedanensis / Łukaszewski); Długosz, Magdalena: Abamus (2006. Bauer, vc Douglas, William: Three Dances for Soprano, / Guziołek-Tubelewicz, sound), At the Source Flute and Piano (*78. Lyric Arts Trio); (**91. tape), Gemisatos (2007. Pilch, perc / Dowgiałło, Zofia: Composition with Motion Karol Szymanowski Academic SO in Katowice Background (2016. Polish Radio NSO / / Tamayo), Lenyon (96. tape), Mictlan II (**88. Pomàrico); Dragostinov, Stefan: Polytempi No. 3 (*81. Stryja), Tout un monde lointain… (*84. Female Choir of the Institute of Musical Boettcher, vc / Polish Radio and TV SO, Pedagogy, Plovdiv / Chetinyan); Cracow / Katlewicz); composers / compositions / performers / 1956–2019 Dramm, David: Zero Roll (**2003. De Ereprijs / Dutkiewicz, Andrzej: Six Meditations Dramm, live electronics / Boerman); (*85. tape / Dutkiewicz); Druckman, Jacob: Lamia (*83. DeGaetani, Dvořáková, Markéta – Ivo Medek: MrTVÁ?, sopr / Polish Radio and TV SO, Cracow / an operatic hallucination in 38 scenes, Druckman), Valentine (*2000. Scodanibbio, cb); based on the play by Arnošt Dvořak, adapted Dubrovay, Laszlo: Oscillations No. 3 (*80. by M. Dvořáková and I. Medek (*2007. Esztényi, pf / Bieżan, synth), Symphonia Dvořáková, alto / Matuszek, bar / Krejči, bar (mvts. 2 & 3) (*87. tape); / Dlouhý, perc / Ensemble Marijan / Duchamp, Marcel: La Mariée mise à nu par Tardonova / Hrůza, video / Rappl, sets and ses célibataires même. Erratum musical staging); (*74. Ensemble 4’33’’); Dywańska, Dorota: OUT-GROWTH (93. Duchnowski, Cezary: A Throw of Dice for Esztényi, pf); computers (**2009. Laptop Ensemble), Dzenītis, Andris: Latvian Cookbook (*2013. cROSSFAdE 2 (**2017. Łuc, acc / Anderson, Ensemble Modern / Heil), Senza Barrierra vl / Bereza, sound), Marta’s Garden, opera- (**97. Novik, Kharadjanyan, 2 pf / Łowżył, performance, libr. Piotr Jasek (**2009. perc), Trataka. Point noir (*2013. Silesian Zubel, voice / Lubos, actor / Bauer, vc and String Quartet); computer / Kochan, perc and computer / Dziadek, Andrzej: An Impression (97. Polish Moc, acc, computer / Duchnowski, pf, Radio NSO / Wit); computer and musical dir. / DJ Lenar / Eberhard, Dennis: Dialogues II (75. Rutkowski, Guziołek-Tubelewicz, Hendrich, sound / perc / tape), Marginals (*78. Warsaw Rupociński, video / Puś, light dir. / Trombone Quartet / Radio Kamerorkest Choromański, stage design / Twarkowski, Hilversum / Bour), Icon (97. tape); stage design), monad 2 (**2003. Zubel, voice Eck, Cathy van: Hearing Sirens (*2019. / Wojtasik, tr / Duchnowski, computer), van Eck, mobile loudspeakers / Czechowicz, monad 3 (2004. Zubel, voice / Duchnowski, pf Ptak, sound), Wings (*2019. Craenen, and computer), Parallels (**2014. European van Eck, Górczyński, performers / Workshop for Contemporary Music / Bohn / Czechowicz, Ptak, sound); Wolniewicz, sound), Reality on Stretched Edlund, Lars: Elegie (*85. Szczecin Technical Braces From a Window (2008. Lutosławski University Choir / Szyrocki); Piano Duo / Wrocław Chamber Orchestra Edlund, Mikael: Små fötter (98. Östersjö, gtr), ‘Leopoldinum’ / Kovacic / Duchnowski, Small Feet (*89. Andersson, gtr); Hendrich, computer), The Beard (*2006. Eggen, Christian: see Ratkje, Maja Solveig Bauer, vc / Guziołek-Tubelewicz, sound), Kjelstrup – Ørjan Matre – Eivind Buene – Triads (2002. Duchnowski, computer Christian Eggen – POING; instruments / Aukso / Moś), Two minutes Eimert, Herbert: No. 4 and No. 5 from (**2003. New Music Orch. / Bywalec), see Fünf Stücke (*58. tape); also REACTABLE / PHONOS EK MECHANES Eisler, Hanns: An den Tod (from Op. 2) project, see also Augustyn, Rafał – Cezary (73. Trexler, sopr / Ortner, pf), Das Alter Duchnowski; (from Op. 2) (73. Trexler, sopr / Ortner, pf), 274 \ Duckworth, William: Tango Voices Der Feldprediger (from Op. 11) (73. Trexler, (*88. Mikhashoff, pf), Walden Sheet I sopr / Ortner, pf), Die haltbare Graugans (78. Cracow Oboe Quartet); (73. Trexler, sopr / Ortner, pf), Mariechen D–E Dudek, Adam: Opera Proibita / Jacek (from Op. 11) (73. Trexler, sopr / Ortner, pf), (2012. video installation); Suite No. 1, Op. 92a (*58. Septet of NP), Dudek, Adam – Aleksander Nowak: Spoon Vierzehn Arten den Regen zu beschreiben, River Anthology (**2013. multimedia Op. 70 (87. Musica-Viva-Ensemble / installation); Wirrmann); Dufourt, Hugues: Le Maison du Sourd (*2007. Eisma, Will: Archipel (*67. Gaudeamus String Jünger, fl / New Music Orch. / Ensemble Quartet), Caprichos (**74. Sparnaay, b cl / tape); Orchestral Contemporain / Kawka), Ekimovsky, Victor: The Princess has pricked The Watery Star (*95. Ensemble Alternance / her finger – and all the Kingdom fell asleep… Masson); (*2005. Seattle Chamber Players / tape); Dukáy, Barnabás: A Rondino Speaking to Ekman, Fredrik – Erik Mikael Karlsson: the Hearts of Men (*96. Kocsis, pf); En förtrollad natt, Part 1 (*98. text-sound Dumitrescu, Iancu: Remote Pulsar (**2002. composition); Csendes, vla / Kivu, vc / Anghel, pf and perc El Din, Hamza: Escalay – Water Wheel / tape); (*92. Kronos Quartet); Dun, Tan: Circle with Four Trios, Conductor Electric Quintet – piece composed and and Audience (*93. Nieuw Ensemble / performed by Joan Saur Martio, Victor Spanjaard), Concerto for Orchestra: Yio Nubla, Christer Irgens-Møller, Krzysztof (*2004. Taipei PO / Segerstam), Orchestral Knittel, Henning Frimann (*98. Frimann, Theatre I: Xun (*94. NPO / Katlewicz); soundsculpture / Knittel, synth / Irgens- Duo Karolina Mikołajczyk & Iwo Jedynecki: Møller, pf and synth / Nubla, b cl and live improvisation (2019. Mikołajczyk, vn / electronics / Marti, sampler); Jedynecki, acc); Eloy, Jean-Claude: Anâhata (*94. Ebihara, Duriš, Juraj: Dreams (*89. tape); voice and perc / Arai, voice and perc / Ranta, Durko, Zsolt: Iconography No. 2 (*72. Budapest perc / tape / Eloy, sound), Butsumyôe (*94. Chamber Ensemble / Mihály), Psicogramma Nara, sopr / tape / Eloy, sound), Erkos (*94. (*65. P. Bartholomée, pf); Ueda, satsuma-biwa and voice / tape / Eloy, Dusapin, Pascal: Watt (*2000. Trudel, tbn / sound), Libérations, cycle 1 (94. Nara, sopr Polish Radio NSO / Tamayo); and perc / Miranda, voice and perc / tape / Duszyński, Jan: Green Grass, yeah! (**2017. Eloy, sound), Sappho Hikètis (*94. Miranda, Domagalski, Owczynnikow, Januchta, voice / tape / Eloy, sound), Yo-In (*94. Ranta, Wójciński, 4 cb); perc / tape / Eloy, sound); Dutilleux, Henri: Ainsi la nuit (*83. Silesian Elyakim, Dganit-Enso: Transmitted by Hand String Quartet), Cinq métaboles (*67. Orch. (**2018. Elyakim, sound artist); Philh. de la RTF / Bruck), L’arbre des songes Emmer, Huib: Glorious Stranger (*2001. (*94. van Keulen, vn / NPO / Katlewicz), Pranger, sopr / Loos Ensemble), Memory Mystère de l’instant (*94. Polish Radio Drums (*97. Loos Ensemble); Chamber Orch. ‘Amadeus’ / Duczmal), Emmerson, Simon: Ophelia’s Dream I Ie Symphonie (*56. Orch. National de la RTF / (*91. Singcircle / Rose), Time Past IV Martinon), IIe Symphonie (*64. Silesian PO / (*89. Kłosińska, sopr / tape); Encinar, José Ramón: Almost on Stage Tamayo), Fearful Symmetry (**2003. (*2008. Rodríguez, fl / Espejo, cl / Orquesta Pigoński, synth / Falkiewicz, computer), de Radio Televisión Española / Tamayo); Wind (**2003. New Music Orch. / Bywalec); Enescu, George: Symphonic Suite No. 1 Farkás, Ferenc: Prelude and Fugue composers / compositions / performers / 1956–2019 (56. G. Enescu PO / Georgescu); (*64. Hungarian State PO / Lehel); Englert, Giuseppe Giorgio: Les Avoines Folles Fatalitäten. Programme composed of pieces: (*65. LaSalle Quartet); Pipe Lines (collective composition of Enkyklopaideia – fifteen short pieces composed performers); Folke Rabe: Joe’s Harp; Zug by: C. R. Alsina, L. Andriessen, G. Chiari, (collective composition of performers); M. Feldman, L. Ferrari, V. Globokar, M. Kagel, Jan Bark: Light Music; Jan Bark and Folke A. Nordheim, P. Nørgård, L. de Pablo, Rabe: Polonaise, second version (*70. F. Rzewski, D. Schönbach, A. Stroe, Kulturkvartetten and Bel Canto Kören, G. Warwarin, K. E. Welin (**72. Music Stockholm); Workshop); Fedele, Ivan: Accents (*2004. Karlsson, pf / Eno, Brian: Music for Airports (*99. Bang Cikada String Quartet), Mixtim. Musica rituale On A Can); per sette esecutori (*2003. Algoritmo Enriquez, Manuel: Concierto de violin No. 2 Ensemble / Angius), Primo Quartetto (*79. Enriquez / NPO / Wit), Concierto para ‘Per accordar’ (*2000. Arditti String Quartet), piano y orquesta (*73. de Oliveira / Polish Profilo in eco (*2003. Algoritmo Ensemble / Radio NSO / de Carvalho), Si Libet Angius), Scena (*2003. NPO / Wit); (*70. Polish Radio NSO / de Carvalho), Feiler, Dror: Goethe im Schlachthof (**2018. Tzicuri (*77. Music Workshop); Kwartludium / Feiler, cl cb, sxf s, live Ensemble für Intuitive Musik Weimar: electronics / Migas, sound); Annäherung (*2002), Metamorphosen Feld, Jindřich: Suite (*62. Prague Chamber des Lutherchorals ‘Aus tiefer Not schrei ich Orch.); zu dir’ (*2002), Klangzeichen (*2002), Feldman, Morton: Bass Clarinet and Percussion Spiegelbilder (*2002); (*85. Sparnaay / Skoczyński and Lauks), Enström, Rolf: Myr (*79. tape), Sequence Christian Wolff at Cambridge (*72. Schola in Blue (*78. tape), Spin (*96. tape); Cantorum Stuttgart / Gottwald), De Kooning Enström, Rolf – Thomas Hellsing: Fractal (*69. Grupo Alea / Gil), Instruments II (*89. (*86. slides and tape); Asko Ensemble / Porcelijn), Intersection 3 Eötvös, Peter: Atlantis (*2006. Ostrowski, (*99. Schleiermacher, pf), Palais de mari boy sopr / Drabowicz, bar / Lukács, cimb / (*88. Mikhashoff, pf; 93. Rosenberg, pf), Awolin, synth / NPO / Nagy), Moro Lasso Piano and Orchestra (*79. Frémy / NPO / (*74. Collegium Vocale Köln), Psalm 151 Markowski), Piano and String Quartet (in memoriam Frank Zappa) (*96. Rácz, (*99. Tilbury, pf / Silesian String Quartet), perc), Shadows (*99. van’t Hof, fl / Structures (*73. Wilanów String Quartet), Boonstra, cl / Radio Kamerorkest The King of Denmark (*67. Ranta, perc), Hilversum / Eötvös), Snatches of The Swallows of Salangan (*64. Cracow PO a Conversation (*2007. Blaauw, tr / Israel and Choir / Markowski), Thoughts (*70. Contemporary Ensemble / Nagy); Amsterdam Studenten Kamerorkest / Erb, Donald: Basspiece (*73. Turetzky, cb), Vriend; 76. Woodward, pf), Three Voices Concerto for Cello and Orchestra (*81. (*90. Griffith, sopr / tape), Two Pieces for Jabłoński / Polish Radio NSO / Kaspszyk), Three Pianos (*68. Frémy / Krauze / Tilbury), / 275 Ritual Observances (*94. NPO / Katlewicz), Vertical Instruments (*75. Center of Seventh Trumpet (*72. Polish Radio NSO / the Creative and Performing Arts / Lane), To Warsaw with Love (**71. Music Williams), see also Enkyklopaideia; E–F Workshop); Felzer, Oleg: Vestige (*96. ); ERdada. A Tale about Eugeniusz Rudnik Fennelly, Brian: Empirical Rag (*80. Music (**2017. Babińska, dir. / Kander, costume Workshop), Tesserae VIII (84. Pituch, alto sax); and stage design / Krasucka, photography, Ferneyhough, Brian: Bone Alphabet (*96. video editing and production / Wyszkowska, Schick, perc), Carceri d’invenzione IIb Ptak, sound); (*88. Fabbriciani, fl), La Chute d’Icare (2015. Erickson, Robert: Ricercare à 3 (*73. Turetzky, Marelli, cl / New Music Orch. / Bywalec), cb), Ricercare à 5 (*68. Dempster, tbn); Lemma-Icon-Epigram (*84. J. Méfano, pf), Erlih, Devy: see Parmegiani, Bernard – Mnemosyne (2013. Staravoitava, fl / Devy Erlih; Experimentalstudio des SWR), String Eshpai, Andrei: Springs (*73. Latvian Quartet No. 2 (*83. Arditti String Quartet), Academic Choir / Cepitis); Time and Motion Study I (*88. Sparnaay, b cl), Estrada, Julio: Canto naciente (*81. Trittico per G. S. (*2000. Scodanibbio, cb); instrumental ensemble / Estrada); Ferrari, Luc: Cellule 75 – Force du Rythme Esztényi, Szabolcs: Concerto (74. Esztényi, et Cadence Forcée (*79. Frémy, pf / Drouet, pf / tape), Concertino per due pianoforti (87. perc / tape), Collection de petites pièces Esztényi and Witkowski), Creative Music No. 3 ou 36 enfilades (92. Siwiński, pf), Comme une (90. Esztényi, pf), Creative Music No. 4 (91. fantaisie dite des réminiscences (*97. Novik, Esztényi, pf / tape), Creative Music No. 5 Kharadjanyan, 2 pf), Conversation in time (95. Esztényi, pf), Etudes for Two Pianos (*89. Chojnacka, cemb / Gualda, perc), (2007. Esztényi and Mironiuk), A Glance Flashes (*64. Ensemble Instr. de Musique from Afar (**2007. Pańko, alto / Esztényi, Contemporaine / Simonovitch), Hétérozygote Mironiuk, 2 pf), (**75. Dąbrowski, (*68. tape), Histoire du plaisir et de la Herdegen and Zach, recitation), Six Etudes désolation (*89. Poznań PO / Michniewski), for Two Pianos (80. Esztényi and Witkowski), Interrupteur (*69. Grupo Alea / Gil), Musique The Gates to the Garden (**99. Esztényi, socialiste? (*76. Chojnacka, cemb / tape), Mironiuk, 2 pf), Toccata (**2007. Esztényi, Presque rien avec filles (*97. tape), Tautologos II Mironiuk, 2 pf), see also Chopout; (*62. tape), Und so weiter (*67. Frémy, pf / tape), Evangelisti, Franco: Aleatorio (*65. LaSalle Visage 5 (**59. tape), see also Enkyklopaideia; Quartet), Incontri di fasce sonore (*60. tape), Ferreira, António: Gist (*2008. Okoń-Makowska, Ordini (*62. Cracow PO / Markowski), Błażejczyk, sound); Proporzioni (*61. Gazzelloni, fl); Ferreyra, Beatrix: Médisances (*70. tape); Falik, Yuri: Bad Weather Has Come and Moans; Fervers, Andreas: TD, study for bass drum Rusty Firs (from the cycle Autumn Songs) (*87. percussionist from the Ensemble (*75. Tallinn Chamber Choir / Ratassep), des Instituts für Neue Musik der SHM Violin Concerto (*77. Zhislin / Leningrad PO / Freiburg); Dmitryev); Field, Ambrose: Still Water (*99. tape); Falkiewicz, Adam: Counterpoint Seven (*2008. Filidei, Francesco: Fiori di Fiori (*2017. NPO / Orquesta de Radio Televisión Española / Kaspszyk) Finke, Fidelio F.: Sonate für Horn und Klavier Fujihata, Masaki – Kiyoshi Furukawa – (*59. Penzel / Kootz); Wolfgang Münch: Small Fish (*2000. ZKM Finnissy, Michael: Alongside (*80. London Karlsruhe); composers / compositions / performers / 1956–2019 Sinfonietta / Zollman), Banumbirr (*2003. Fukushima, Kazuo: Kadha Karuna (*63. Ensemble Offspring), Contretänze (*90. Gazzelloni, fl / Rzewski, pf), Mei (*63. Uroboros Ensemble / Pritchard), Nobody’s Jig Gazzelloni, fl), Kashin (*76. Tokk Ensemble); (*99. Kreutzer Quartet), Sacred I (*91. Fulkerson, James – Mary Fulkerson: BBC Singers / Joly), Vaudeville (*92. Manning, Trombone Concerto / Late Nite Soup (*74. m-sopr / Jackson, bar / The Matrix J. Fulkerson, tbn / M. Fulkerson, dancer); Ensemble / Ziegler); Fure, Ashley: Anima (*2017. Diotima Quartet); Fiugajski, Przemysław: see Jabłoński, Maciej Furrer, Beat: antichesis (*2008. Wrocław – Przemysław Fiugajski; Chamber Orch. ‘Leopoldinum’ / Kovacic), Flammer, Ernst Helmuth: Klavierstück 8 canti notturni (*2012. Kapla-Marszałek, (*2001. Joste, microtonal pf); Dobrowolska, 2 sopr / NPO / Janiak), FLR project – Jim Black vs TEMPO REALE, Concerto for Piano and Ensemble (2010. Wirth concert/improvisation (*2009. Black, drums, / European Workshop for Contemporary perc / TEMPO REALE: Canavese, Meacci, Music / Bohn), FAMA– Szenen, scenes I, IV, live electronics / Giomi, sound); VI, VIII (*2007. Rohrer, speaker / Langmayr, Fol, Aleksandra: One Day God Will Return Augestad, 2 sopr / E. Furrer, cb fl / (*2010. Orkest De Ereprijs / Boerman); Klangforum Wien / B. Furrer), Presto Fómina, Silvia: Expulsion. Désagrégation. for flute and piano (*2006. members of Dispersion (*94. Pyzik, vc / tape); the Ensemble Phoenix); Forging the Scythes (**2018. acousmatic Furukawa, Kiyoshi: Mrs. M., Her Geometrization installation inspired by Wojciech Fangor’s (*87. tape), see also Fujihata, Masaki – painting: Mikołaj Majkusiak Mirrors, Kiyoshi Furukawa – Wolfgang Münch; Andrzej Bieżan Isn’t it?, Maria Fuzzy: see New Culture Quartet, The; Pokrzywińska Reglamentoso, Elżbieta Gabrijelčič, Marijan: Tolminci (*85. Ljubljana Sikora Janek Wiśniewski, December, Poland, Radio and TV SO / Salwarowski); Louis Andriessen Il Duce); Gabryś, Aleksander: Deus Irae (**2002. Fortner, Wolfgang: Fünf Bagatellen 1960 Csendes, vn and vla / Kivu, vc / Anghel, pf, (*62. The Dorian Quintet); acc and perc / Gabryś, cb and gd’ulka); Foss, Lukas: Baroque Variations (*76. Polish Gabryś, Ryszard: Tema senza variazioni Radio and TV SO, Cracow / Halffter), Echoi (95. Gembalski, org); (*67. Yadzinski, cl / Davis, vc / Foss, pf / Gaburo, Kenneth: Inside (*73. Turetzky, cb); Williams, perc), Solo (*88. Mikhashoff, pf), Gacek-Duda, Katarzyna – cooperation Rafał see also Nonimprovisation […]; Rudawski: Breath (**2019. performance; Foss, Lukas – Joel Chadabe: Chamber Music Gacek-Duda, script, flutes of the world, Quot (*75. Center of the Creative and voice / Rudawski, arrangement, electronics / Performing Arts / Williams); Zakrzewski, ethnic percussion, electronics); Fotek, Jan: Apostrophes (69. Artysz, bar / Galynin, Herman: Aria (*74. Agaronian, vn / Krauze, Gałązka, 2 pf), Epitasis (71. Radio Armenian Chamber Orch. / Saakianc); PO, Hilversum / Hupperts), Hymne de Sainte Gander, Bernhard: Beine und Strümpfe (*2018. Brigitte (**72. Ostrowska-Fotek, sopr / European Workshop for Contemporary 276 \ Instrumental Ensemble of NP / Witkowski), Music / Bohn); Musica cromatica (**84. Latvian Philh. Gandini, Gerardo: Cadencias II (*68. XLII World Chamber Orch. / Lifšics), Partita for twelve Festival of the ISCM. Polish Radio and TV F–G and three double bassoons Chamber Orch., Katowice / Taverna); (73. bassoon ensemble / Piwkowski); Garcia, Xavier: New Râ (*2014. Keravec, Francesconi, Luca: Animus (*2002. Lomuto, bagpipe / Błaszczak, sound); tbn / live electronics), Cobalt, Scarlet Gassick, Damian le: Mad Legs in a Sack (*2003. Polish Radio NSO / Chmura), Etymo (*99. Icebreaker / McAlindin); (*2002. Bjurling, sopr / KammarensembleN Gausec, Adrian: Quatre pièces pour / tape / Rivolta), Islands – Concerto for piano instruments à vent (*58. Quintette à Vent and 12 instruments (*2002. Kilström / de Toulouse); KammarensembleN / Rivolta), Mambo Geddes, John Maxwell: Voyager (*87. BBC (*2001. van Houdt, pf), Onda Sonante (*2001. Scottish SO / Maksymiuk); Nieuw Ensemble / Hempel); Gefors, Hans: Songs for Lydia – No. 3A Blazing Françaix, Jean: Cinq poésies de Charles Well of Fire, No. 4 Arabesque to a Drawing by d’Orléans (*58. Załęska, m-sopr / Michael Angelo (*98. Rørholm, m-sopr / Vogtman, pf); Danish National Radio SO / Dausgaard); Franke, Bernd: Musik für Violine, Violoncello Geissler, Fritz: Heitere Suite (*59. und Klavier (*96. Moś / Bauer / Pobłocka); Gewandhaus-Quintett), Symphonie No. 5 Frederickson, Thomas: Piece for 5 (*72. Rundfunk-Sinfonieorchester, Leipzig / Instruments (*66. University of Illinois Kegel); Contemporary Chamber Players); Gelmetti, Vittorio: Eine kleine K Musik (**79. Fribec, Kresimir: Mouvemens cosmiques (*61. Gelmetti, pf / tape), L’opera abbandonata tace Cracow Philh. Chamber Orch. / Markowski), e volge la sua cavità verso l’esterno, collage Rythme réprimé (**63. Ansambl ‘Slavko (*70. tape), Treni d’onda a modulazione Osterc’ / Petrić); di intensità (*68. tape); Frid, Grigori: Three sonnets from the cycle Gembalski, Julian: Five Evangelical Me­di­ta­ Five Shakespeare Sonnets (60. Doloukhanova, tions (improvisation) (95. Gembalski, org); m-sopr / Yerokhin, pf); Gerhard, Roberto: Nonet (2008. Barcelona 216 Frimann, Henning: The Suffer March of / Martínez-Izquierdo), Symphony No. 3 the Experimental Musician (*98. European ‘Collage’ (*70. Royal Liverpool PO / Groves); Improvisation Orch.); Gerrard, Graeme: Nonary (*94. Harvey, pf); Frimann, Henning – Victor Nubla – Gerster, Ottmar: Heitere Musik (*59. Tim Hodgkinson: Trio (*98. Frimann, Gewandhaus-Quintett); soundsculpture / Hodgkinson, cl, alto sax Gervasoni, Stefano: R. and gtr / Nubla, b cl and live electronics); (**2018. Ensemble Recherche); Frolyak, Bohdana: Why should I, like a tim’rous Ghedini, Giorgio Federico: Appunti per bird, to distant mountains fly? (*2005. Polish- un credo (*66. Orch. RAI Torino / Rossi); German Youth Ensemble / Bohn); Gifford, Keith: Waterfall in Mist (*90. From Monteverdi to The Beatles, recital-show Uroboros Ensemble / Pritchard); (77. Berberian, m-sopr / Lester, pf); Gilbert, Anthony: Dream Carousels (*99. Wind From the Futurist Manifesto (*74. Ensemble Orch. of Royal Northern College of Music, 4’33’’); Manchester / Reynish); Gilbert, David: Poem VI (*66. University of 2003. Polish Radio NSO / Chmura), Canti Illinois Contemporary Chamber Players / strumentali (**62. Silesian PO / Stryja; McKenzie); 93.Nieuw Ensemble / Spanjaard), Choros I Gillet, Bruno: Hor che’l ciel e la terra, e’l vento (**64. Silesian PO / Stryja; 2005. Slovak composers / compositions / performers / 1956–2019 tace… (83. Cracow Oboe Quartet); Radio SO / Nagy), Concerto-Cantata (*93. Ginastera, Alberto: Concerto for Violin and Wincenc, fl / Polish Radio NSO / Wit), Orchestra (*65. Iwanow / Poznań PO / Concerto for Five Instruments and String Krzemieński); Quartet (62. Prague Chamber Orch.; 99. Gísladóttir, Bára: Ós (*2019. Polish Radio Akademos Quartet / New Music Orch. / NSO / Bancroft); Bywalec; 2007. Malicki, fl / Pachlewski, cl / Glandien, Lutz: Es lebe (*90. Vogt, tba / tape); Ziarkiewicz, tr / Pękala, xlf / Lalek, mnd / Gliniak, Bartłomiej: Neumo progremodum Silesian String Quartet / Wolińska), Concerto (95. tape), Retro elsonobis (2000. tape); for Harpsichord and String Orchestra Glinkowski, Aleksander: Pour trombone (72. (81. Chojnacka / Polish Chamber Orch. / Kubik, tbn / Zieliński, vc / Witkowski, pf), Maksymiuk; 93. version for piano and string Sinfonia mesta e tranquilla (80. Mitręga, alto / orchestra. Górecka / Polish Radio NSO / Silesian PO and Choir / Stryja), Venetian Wit), Elementi per tre archi (65. Ensemble Concerto (75. Mandera, ob / Slovene PO, Instr. Musiques Nouvelles Bruxelles; 90. Ljubljana / Michniewski); Moś, vn / Syrnicki, vla / Janosik, vc), Epitaph Globokar, Vinko: Ausstrahlungen (*71. (**58. NP Choir / Silesian Philh. Chamber Holliger, ob / Silesian PO / Stryja), Discours II Orch. / Markowski), Euntes ibant et flebant (*69. Globokar, tbn), Kolo (*92. Schola (76. Poznań Boys’ Choir / Kurczewski), Five Cantorum Gedanensis / Globokar, tbn / Kurpian Songs (2006. Podlasie Opera and Łukaszewski), Monolith (**76. Nicolet, fl), Philharmonic Choir / Bielecka), Five Pieces Voie (*69. NPO and Choir / Globokar and for Two Pianos (97. Novik and Kharadjanyan), Wit), see also Enkyklopaideia; For You, Anne-Lill (*91. S. Bell, fl / Constable, Glodeanu, Liviu: Melopea (*77. Popa, cl / tape); pf), Good Night (*91. E. A. Bell, sopr / S. Bell, Głowicka, Katarzyna: Concerto for Saxophone fl / Constable, pf / Hockings, perc), Kleines and String Orchestra (**2001. Herder / Aukso Requiem für eine Polka (*93. Schönberg / Moś), Summer’s day (2001. Burzyński, Ensemble / de Leeuw), La Musiquette IIe counter-ten / Polish Orch. ‘Jeunesses (**67. Orch. Philh. de la RTF / Markowski), Musicales’ / Borowicz); La Musiquette IVe (*70. Music Workshop; 94. Gobert, Gilles: Pièce pour piano, percussions Nonstrom), Marian Songs (2006. Podlasie et èlectronique (*2009. Kwartludium / Opera and Philharmonic Choir / Bielecka), Old Gobert, electronics); Polish Music (**69. NPO / Markowski; 2001. Godar, Vladimir: Sonata (*91. Bauer, vc / Moscow PO / Simonow ), Piano Sonata No. 1 Tatarski, pf); (*91. Constable), Quasi una fantasia – String Goebbels, Heiner: Bagatellen (*2008. Shmidt, Quartet No. 2 (*92. Kronos Quartet; 2013. vn / DeLuca, cl / Guziołek-Tubelewicz, Silesian String Quartet), Recitatives and sampler), Die Befreiung des Ariosos – ‘Lerchenmusik’ (**85. Den Fynske (*95. Stötzner, actor / D. Moss, perc / Trio), Refrain (*66. Polish Radio NSO / Krenz; Goebbels, pf, keyboards and dir.), Landscape 96. Spring Orch. of Warsaw Autumn / with Distant Relatives (*2005. Bennent, actor / Zhadko), Scontri (**60. Polish Radio NSO / Ensemble Modern / Deutscher Kammerchor Krenz; 87. Polish Radio NSO / Wit; 2011. / 277 / Ollu / Grünberg, set design and lights / von Polish Radio NSO / Valade), …songs are sung Gerkan, costumes / Ommer, sound / – String Quartet No. 3 (2013. Silesian String Goebbels, dir.), Songs of Wars I have seen Quartet), Songs of Joy and Rhythm (94. G (*2011. London Sinfonietta / Orchestra of A. Górecka i M. Górecki, 2 pf / Sinfonia the Age of Enlightenment / Valade / Sound Varsovia / Nowak), Symphony No. 1 ‘1959’ Intermedia, sound projection); (**59. mov.: I, III, IV. Polish Radio NSO / Goebel, Johannes: Après les Grands Tours Krenz), Symphony No. 2 ‘Copernican’ (73. (*2000. ZKM Karlsruhe); Woytowicz, sopr / Hiolski, bar / NP Choir / Goehr, Alexander: Imitations of Baudelaire Sinfonie-Orchester des Hessischen (*91. BBC Singers / Joly), Narration (*60. Rundfunks, Frankfurt / Markowski), Nendick, sopr / Bennett, pf), Suite, Op. 11 Symphony No. 3 (*77. Woytowicz, sopr / NPO (*62. Melos Ensemble); / Markowski), Three Diagrams (**61. Goeyvaerts, Karel: Litany III (*2001. Moscow Gazzelloni, fl), Three Pieces in the Old Style PO / Simonow), Litanie V (*96. Tiensuu, cemb); (75. Chamber Ensemble of NP / Teutsch), Goldmann, Friedrich: Ensemblekonzert I Totus Tuus (2006. Podlasie Opera and (*87. Musica-Viva-Ensemble / Wirrmann); Philharmonic Choir / Bielecka); Goleminov, Marin: Variations on Dobri Christov Gosfield, Annie: EWA7 (*2001. Kleier, gtr / (*61. Sofia PO / Ilyev); Pugliese, perc / Cutler, perc and electronics Gombau, Gerardo: 3 + 1 for string quartet / Gosfield, live electronics), Flying Sparks and (*69. Grupo Alea); Heavy Machinery (*2002. Silesian String Gordon, Michael: I Buried Paul (*99. Bang Quartet / Kowalewski, Lauks, Siwak, On A Can); Szulińska, perc / Borowicz), The Manufacture Gorli, Sandro: Studi in forma di variazione of Tangled Ivory (*99. Bang On A Can); (*90. Bellocchio, pf); Graham, Peter: Get Out Of Whatever Cage You Gorlinsky, Vladimir: Possibly mercury? Are In (*93. Agon Ensemble / tape / Kofroň); (**2017. Ensemble Nostri Temporis); Gran, Fredrik: Vold (**2018. Kwartludium); Górczyński, Michał: Massive (**2008. Tik-Tak, Grandis, Renato de: La Rossiniana (*76. Polish beatboxer / Kwartludium); Radio and TV SO, Cracow / Halffter), Górczyński / Piernik: improvised music Serenata seconda (**70. Palm, vc), Studi (2004. Górczyński, b cl and sax / Piernik, (*64. Ensemble MW2), Toccata a doppio coro prepared tb); figurato (*65. Duo Kontarsky, 2 pf); Górecki, Henryk Mikołaj: Ad Matrem Gravgaard Madsen, Allan: Suite (**72. Woytowicz, sopr / NPO and Choir / (**2018. Ensemble Recherche); Markowski), Already it is Dusk – String Grešák, Jozef: Amoebas (*88. Slovak PO, Quartet No. 1 (91.; 2013. Silesian String Bratislava / Režucha); Quartet; 92. Kronos Quartet; 2006. Dafô Grillo, Fernando: Itesi (**78. Grillo, cb), Oeuvre X String Quartet), Amen (76. Poznań Boys’ (*78. Grillo, cb / Polish Chamber Orch. / Choir / Kurczewski; 85. Szczecin Technical Maksymiuk), Serenata (*86. Lazari, vn / University Choir / Szyrocki), Beatus vir Orvieto, pf); (80. Artysz, bar / Cracow PO and Choir / Grisey, Gérard: Accords perdus (*97. Vervoitte, Katlewicz), Canticum graduum (*74. Polish Leonard, 2 cr), Anubis et Nout (*2003. Radio and TV SO, Cracow / Taverna; Royannais, sax), Échanges for prepared piano and double bass (*2006. members of Choir and Cardinal Stefan Wyszyński the Ensemble Phoenix), Jour, contre-jour University Choir / NPO / Wit), String Quartet (2000. The Classic-Avantgarde Soloists’ No. 3 (*90. Arditti String Quartet), Ten Etudes composers / compositions / performers / 1956–2019 Ensemble / tape / Baidov), Le Noir de l’étoile for Cello (*79. Monighetti), ‘The Seven Bowls (*2017. Les Percussions de Strasbourg / of Wrath’ (No. 11 from St. John Passion) Schneider, sound spatialisation), Le Temps (2007. Kłosińska, sopr / Lutsyuk, ten / et l’Ecume (*99. instrumental ensemble of Mozhaev, bar / Bezzubenkov, bass / Kinyaev, NPO / Michniewski), L’icône paradoxale org / NP Choir and Cardinal Stefan (hommage à Piero della Francesca) (*2007. Wyszyński University Choir / NPO / Wit), Louis, sopr / Sullé, m-sopr / Karol The Resurrection according to St. John (*2007. Szymanowski Academic SO in Katowice / Kłosińska, sopr / Lutsyuk, ten / Mozhaev, Tamayo), Partiels (2014. European Workshop bar / Bezzubenkov, bass / Kinyaev, org / NP for Contemporary Music / Bohn), Périodes Choir and Cardinal Stefan Wyszyński (*81. Ensemble de l’Itinéraire / Mercier; University Choir / NPO / Wit); 2015. Talea Ensemble / Baker), Quatre Gudmundsen-Holmgreen, Pelle: Solo for chants pour franchir le seuil (*2003. Nopper, El-Guitar (*2003. Hijmans), Statements sopr / Court-Circuit / Valade), Talea (*90. (*98. Schola Cantorum Gedanensis / Divertimento Ensemble / Gorli), Tempus ex Łukaszewski), Symphony-Antiphony (*98. machina (*2000. Cracow Percussion Group / Danish National Radio SO / Dausgaard), Welanyk), Vortex temporum (*2001. Court- Triptykon (*98. Mortensen, perc / Polish Circuit / Valade); Radio NSO / Wit); Grosskopf, Erhard – Agitation Free: Looping IV Guerra, Jorge Fernández: Nova (*2008. Plural (*74. Agitation Free); Ensemble / Panisello); Group KEW (Krzysztof Knittel, Elżbieta Sikora, Guerrero, Francisco: Oleade (*2008. Orquesta Wojciech Michniewski): Second Secret Poem, Sinfónica de Radio Televisión Española / improvisation (**74. Group KEW, live Tamayo); electronics / Urbański, slides); Guezec, Jean-Pierre: Architectures colorées Group of Intuitive Music (Andrzej Bieżan, (**64. Ensemble Instr. de Musique Jacek Malicki, Zdzisław Piernik, Wojciech Contemporaine / Simonovitch), Formes Chyła): Intuitive Music, improvisation (72. (*67. Orch. Philh. de la RTF / Bruck); Bieżan, pf / Malicki, electr gtr / Piernik, tba / Guillette, Ray: Hommage à Pollock Chyła, sound); (*93. tape); Grudzień, Jacek: Ad Naan (**2002. Bauer, vc / Guinjoan, Joan: Magma (*2008. Orquesta computer), Concerto per sassofono soprano Sinfónica de Radio Televisión Española / e archi (**96. Mleczko / Spring Orch. of Tamayo); Warsaw Autumn / Zhadko), Nonstrom (97. Guo, Wenjing: Late Spring (*2014. Forbidden Nonstrom), Tristaniana (84. J. Méfano, pf), City Chamber Orchestra / Liu); Tritonos (95. Kmieć, cemb / tape); Guy, Barry: Eos (*81. London Contemporary Grudzień, Jacek – Izabela Chlewińska: Dance Theatre / Cohan, choreography / Guy, Preparation for Change (**2013. Pawlik, pf / cb), Play (**77. Ensemble 20. Jahrhundert / Chlewińska, dance, choreography / Burwik); Bergman, video projection / Guziołek- Haapamäki, Sampo: Velinikka (*2009. Kujala, Tubelewicz, sound); quarter-tone acc / New Music Orch. / 278 \ Gruodis, Juzas: String Quartet in D Minor Bywalec); (*65. State Lithuanian Quartet); Haapanen, Perttu: Nothing to Declare Grygar, Milan: Linearpartitur (*93. Agon monodrama, libr. P. Haapanen, T. Paasonen G–H Ensemble / Kofroň); (*2011. Isherwood, bass-bar / Plus Ensemble Gryka, Aleksandra: ‘+’ (**2003. New Music / Wikström, lighting, stage design / Orch. / Bywalec), BAe1460Y–CRG.sylar Paasonen, dir.); (**2007. Elision Ensemble), (1’) exists as… (-1’) Haas, Georg Friedrich: Aus.Weg (*2013. (*2003. Lupa, pf / Dziubek, acc / Drzymała, Ensemble Phoenix Basel / Henneberger), Brauhoff, Nowakowski, 3 perc / Sobik-Ptok, dark dreams (*2017. Polish Radio NSO / vc), Interialcell (**2003. Polish-German Liebreich), In iij Noct. – String Quartet No. 3 Youth Ensemble / Bohn), konstrunity 0100 (*2005. Kairos Quartett), Monodie (*2005. (**2004. Musicatreize / Hayrabedian), Polish-German Youth Ensemble / Bohn), observerobserver (**2012. Duo Petrini- Open Spaces – in memory of James Tenney Jünger / Gryka, video / Błażejczyk, sound), (**2007. Aukso / Moś); Oxygen nr. 369,1 (2001. Esztényi, pf / tape), Haase, Miloš: Ormai (*2002. Ondrůšek, perc Scream You, chamber opera, part of / tape); opera saga Kommander Kobayashi, libr. Hába, Alois: String Quartet No. 14 (*64. Novák T. Dusche (*2006. Sturludóttir, Morikawa, String Quartet); Pshenitschnikova, 3 sopr / Fischer, m-sopr / Haffner, Nik – Jarosław Kapuściński: Yours Kröner, alto / Kobayashi, ten / Henriks, (*2000. ZKM Karlsruhe); bass / Cegla, Oczkowski, actors / Hagen, Lars Petter: The Neue Vocalsolisten Ensemble Mosaik / Larrañaga / Fischbeck, Stuttgart Notebook (*2011. Neue stage and costume design / Kießling, video / Vocalsolisten Stuttgart); Bittner, lights / Holm, dir.), t.aÁmiper Hakola, Kimmo: Capriole (*98. Karttunen, vc (**2009. Plante, tr / Polish Radio NSO / / Kriikku, clb); Kaspszyk); Håkon, Thelin: Høstlått (**2017. Domagalski, Gubaidulina, Sofia: Concordanza (*71. Musica Owczynnikow, Januchta, Wójciński, 4 cb); viva Pragensis / Vostřák), Misterioso (*84. Halffter, Cristóbal: Antiphonismói (*69. Grupo Warsaw Percussion Group), Detto 2 (*86. Alea / Gil), Elegias a la muerte de tres poetas Scheffler, vc / Ensemble Modern / Holliger), españoles (*81. NPO / Halffter), Le sommeil In Erwartung (*2000. Vienna Saxophone (**94. Sinfonietta Cracovia / Michniewski), Quartet / Kraków Percussion Group / Noche passiva del sentido (*79. von Osten, Welanyk), In the Beginning There Was Rhythm sopr / Skoczyński, Rutkowski, perc / (*88. Mark Pekarsky Percussion Ensemble, Experimentalstudio der Heinrich-Strobel- Moscow), Offertorium. Concerto for Violin Stiftung des Südwestfunks / Halffter), and Orchestra (*87. Kremer / Cracow PO / Tiempo para Espacios (*76. Chojnacka, Kaspszyk), Ritorno perpetuo (**97. Chojnacka, cemb / Polish Radio and TV SO, Cracow / cemb), Seven Words (2004. Bauer, vc / Baran, Halffter); bayan / Aukso / Moś), Sonnengesang (2019. Haller, Hans Peter: Workshop (*79. von Osten, Zdunik, vc / Herzyk, Bonk, 2 batt / Camerata sopr / Experimentalstudio der Heinrich- Silesia / Szostak), St John Passion (*2003. Strobel-Stiftung des Südwestfunks), see Kłosińska, sopr / Talaba, ten / Mozhaev, bar also Christmann, Günter – Detlev / Bezzubenkov, bass / Kinyaev, org / NP Schoenenberg […]; Hambraeus, Bengt: Interférences (*63. Welin, Heiss, Hermann: Zu Ordnung IV (*63. tape); org), Rota II (*63. tape); Hellsing, Thomas: see Enström, Rolf – Hammond Pops (**2010. Golden Serenades: Thomas Hellsing; Flatland, Træen, electronic instruments / Hemmel, Oskar van: String Quartet No. 4 composers / compositions / performers / 1956–2019 Apeland, Fender Rhodes and electr org / (*62. Holland String Quartet); Błażejczyk, sound); Hendrich, Paweł: Absusurrus (*2019. Długosz, Hanson, Sten: Che (*98. text-sound composition), fl / Basel Sinfonietta / Brönnimann / Wienerlieder (*86. Szwajgier, sopr / tape); Roemer, electronics / Guziołek-Tubelewicz, Harley, James: Images (84. instrumental Vulpen, sound), Cyclostratus (**2008. Zgas, ensemble / Harley), One winter after beatboxer / Kwartludium), Emergon αβ (a flower) noon (**87. Januszewska, sopr / (**2011. Hendrich, computer / Musikfabrik / Skubis, b cl / Gałązka, vc / Witkowski, pf); Masson), Hordiaver (2017. New Music Orch. / Harrison, George: see Krauze, Zygmunt – Bywalec), Pteropetros (**2015. Łuc, acc / George Harrison; Lutosławski Quartet / Lutosair Quintet / Harrison, Jonty: Rosaces 4 (*91. Singcircle / Koczur), Sedimetron (*2013. Ensemble tape / Rose); Modern / Heil), see also REACTABLE / Harrison, Lou: see Cage, John – Lou Harrison; PHONOS EK MECHANES project; Hartmann, Karl Amadeus: Concerto funebre Hendrix, Jim – Steve Riffkin: Purple Haze (89. Kulka, vn / NPO / Strugała), (*92. Kronos Quartet); Gesangszene (*73. Fischer-Dieskau, bar / Henry, Pierre: Apocalypse of John (*83. Sinfonie-Orchester des Hessischen APSOME Studio / Henry, sound), Capriccio Rundfunks, Frankfurt / Iwaki), 6. Sinfonie ou une partie de boules (**2009. SON/RÉ – (*62. Pomeranian PO / Chwedczuk), Son et Recherche Électro-Acoustique / String Quartet No. 2 (*90. Auryn-Quartett); Bultingaire, sound / Henry, sound dir. and Harvey, Jonathan: Bird Concerto with spatialisation), Grande Toccata (*2009. SON/ Pianosong (2009. Nagano, pf / London RÉ – Son et Recherche Électro-Acoustique / Sinfonietta / Harvey, live electronics / Bultingaire, sound / Henry, sound dir. and Atherton), Body Mandala (*2014. NPO / spatialisation), Histoire naturelle, ou les roues Kaspszyk), Mortuos Plango, Vivos Voco (2004. de la terre, new version (*2009. SON/RÉ – tape), Ricercare una melodia (2017. Shemer, Son et Recherche Électro-Acoustique / vc / SWR Experimentalstudio), Speakings Bultingaire, sound / Henry, sound dir. and (*2012. NPO / Rophé / IRCAM), …towards spatialisation), see also Schaeffer, Pierre – a pure land (**2019. Polish Radio NSO / Pierre Henry; Bancroft), Tranquil Abiding (*2004. Taipei PO Henze, Hans Werner: Antifone (*64. Silesian / Segerstam), Wheel of Emptiness (*2004. PO / Stryja), Die englische Katze (*85. Polish-German Youth Ensemble / Bohn); Niedersächsische Staatstheater, Hannover / Harvey, Lawrence: Veil (*94. Harvey, pf); Valentin, staging / Mahlke, musical dir.), Harvey, Michael Kieran: Toccata D.N.A. Doppio concerto per oboe, arpa ed archi (*85. (*94. Harvey, pf); Rogelja / Kosi / Ljubljana Radio and TV SO / Harvey, Michael Kieran – Michael Hewes: Salwarowski), Drei geistliche Konzerte aus Spindrift (**95. Hervey, pf / Hewes, live ‘Requiem’ (*92. D. Kuijken, pf / Radio electronics); Kamerorkest Hilversum / Metzmacher), Hashagen, Klaus: Gesten (**67. Vetter, fl El Cimarrón, recital for four musicians (*79. a becco / tape), Synchromie (*74. Behrend, Württembergische Staatsoper: Hirte, bar / / 279 gtr); Dohn, fl / Pollich, gtr / Bowen, perc / Diappi, Haubenstock-Ramati, Roman: Chants staging / Henze, musical dir.), Orpheus et Prismes (*70. NPO / Rowicki), Credentials Behind the Wire (*89. RIAS-Kammerchor / H or ‘Think, Think Lucky’ (*94. Ascher, sopr / Creed), Sonata per archi (*68. Wrocław PO / Klangforum Wien), Enchaîné (*2000. Vienna Markowski), Sonatina (98. Hardenberger, tr), Saxophone Quartet), Equilibre (*94. Sonatine für Flöte und Klavier (*59. Gazzelloni Klangforum Wien), Interpolation (*61. / Mercenier), Symphony No. 8 (*97. Spring Gazzelloni, fl / tape; 94. Furrer, fl / tape), Orch. of Warsaw Autumn / Kaspszyk); Jeux 6 (*65. Les Percussions de Strasbourg), Herbert, Matthew: 20 pianos (*2015. Nicholls, Multiple I, version for alto saxophone and MIDI table / Jones, sound); tuba (**81. Pituch / Piernik), Sonans (*74. Herchet, Jörg: Composition for Oboe and Viola Collegium Vocale Köln), String Quartet No. 2 (*80. Holliger / Fukai); (*94. members of Klangforum Wien), Herman, Vasile: Episodes (*73. Podutiu, fl / Symphonie ‘K’ (*2006. Polish Radio NSO / Ars Nova Cluj / Taranu); Chmura), Tableau III (*76. NPO / Michniewski); Hespos, Hans-Joachim: koss (*81. brass Hausmann, Raoul: Lautgedichte (*78. quintet / Hespos), Point (*77. Music Ensemble Berliner Festwochen und Workshop); Hochschule der Künste / Schnebel); Hess, Felix: How Light Is Changed into Sound Haußmann, Karin: Sextett für Bläserensemble (*96. installation); (**2003. Musikfabrik); Heusinger, Detlef: Abraum II (2017. Hawel, Jan Wincenty: Contrasts (67. Slovak Ensemble Experimental / SWR PO, Bratislava / Rajter), Passacaglia per Experimentalstudio); organo (95. Gembalski), Sinfonietta per coro Hewes, Michael: see Harvey, Michael Kieran misto (79. Szczecin Technical University – Michael Hewes; Choir / Szyrocki), Sonata per violino solo Hidalgo, Manuel: Alegrias (*88. Sugawara, pf / (86. Lasocki), String Quartet No. 4 (84. Radio Kamerorkest Hilversum / Zender), Silesian String Quartet), String Quartet No. 5 Cuatro Citas de Juan Goytisolo (*2000. Leitz- (91. Silesian String Quartet); Lorey, sopr / Gloger, ct), Kampftanz (*2008. Hayden, Sam: Emergence (*2010. Haltli, acc / Aleph Gitarrenquartett); Oslo Sinfonietta / live electronics / Eggen); Hijmans, Wiek: From here to there and no Hedås, Kim: Good Morning Love… return (**2003. Hijmans, electr gtr); (*98. text-sound composition); Hillborg, Anders: Celestial Mechanics (*91. Hedman, Jens – Erik Mikael Karlsson: Polish Radio Chamber Orch. ‘Amadeus’ / Threads and Cords (*93. tape); Duczmal), Dreaming River (*2003. Polish Heider, Werner: -einander (*73. Rosin, tbn / Radio NSO/ Chmura), Lamento (*2001. Sinfonie-Orchester des Hessischen Romański, cl / Aukso / Moś), Liquid Marble Rundfunks, Frankfurt / Iwaki); (*98. Swedish Radio SO / Swensen), Meltdown Hein, Folkmar: see Kang, Sukhi – Folkmar Hein; Variations (*98. Sinfonia Varsovia / Kaspszyk), Heininen, Paavo: Dia, Op. 36 (*79. Helsinki U-Tangia-Na (*98. Lindberg, tbn / tape), Violin Radio SO / Segerstam), Short (**90. Toimii Concerto (*92. Lindal / NPO / Nowak); Ensemble), Utazawa no e (*98. Helasvuo, fl / Hiller, Lejaren A.: A Portfolio for Diverse Savijoki, gtr); Performers and Tapes (*75. Center of the Creative and Performing Arts / Holliger), Zwei Übungen zu Scardanelli Williams), Avalanche (*73. Fołtyn, sopr / (*86. Ensemble Modern / Holliger); Żarnecki, actor / Kulesza, staging / tape), Holló, Aurél: Zen Gardens (*96. Amadinda composers / compositions / performers / 1956–2019 Machine Music (*81. Witkowski, pf / Percussion Group); Rutkowski, perc / tape), Malta (*79. Piernik, Holloway, Robin: Dark Air (*80. London tba / tape), Peroration (*63. tape), Primarily Sinfonietta / Zollman); Act Three (*66. University of Illinois Holm, Mogens Winkel: Sonata, Op. 25 Contemporary Chamber Players / (*74. Den Norske Blasekvintett); McKenzie), Possum Hound (**80. Music Hölszky, Adriana: Wolke und Mond Workshop); (2012. TWOgether Duo); Hiller, Lejaren A. – Ravi Kumra: Algorithms II Holt, Simon: …era madrugada (*89. London (*85. tape / instrumental ensemble / Sinfonietta / Masson); Williams); Holzwege (2019. screening of a film about Hindemith, Paul: Hérodiade (*77. Ensemble Tomasz Sikorski; Cyz, dir.); 20. Jahrhundert / Burwik), Kammermusik Nr. 1, Honegger, Arthur: Judith (64. Ensemble Op. 24, No. 1 (*60. Polish Radio and TV of the Grand Theatre, Warsaw / Rodriguez, Chamber Orch., Katowice / Krenz), staging / Nowakowski, musical dir.), Kammermusik Nr. 2, Op. 36, No. 1 (80. Pacific 231 (56. Polish Radio NSO / Krenz), Richter, pf / Instrumental Ensemble of Petit cours de morale (*58. Rehfuss, bar / Moscow Conservatory / Nikolayevsky), Nadgryzowski, pf), Quatre chansons pour voix Kammermusik Nr. 3, Op. 36, No. 2 (*63. grave (*58. Rehfuss, bar / Nadgryzowski, pf), Majaron, vc / Ansambl ’Slavko Osterc’ / Quatuor à cordes No. 1 (59. Quatuor Petrić), Kleine Kammermusik Nr. 2, Op. 24, Parrenin), Sonatine pour 2 violons (56. No. 2 (*58. Quintette à Vent de Toulouse; Dubiska / Umińska), IIe Symphonie 62. The Dorian Quintet), Konzertmusik für (56. State PO, Brno / Bakala; 77. Polish Streichorchester und Blechbläser, Op. 50 Chamber Orch. / Maksymiuk), IIIe Symphonie (69. Dresdner PO / Masur), Pittsburgh (56. G. Enescu PO / Basarab); Symphony (*64. Pittsburgh SO / Steinberg), Hopkins, Anthony: Carillon (*60. Poznań Sonate für Flöte und Klavier (58. Tomaszczuk Philh. Choir / Stuligrosz); / Wyrzykowska), Sonate für zwei Klaviere Horvat, Stanko: Rondo for string quartet (*67. (59. Baster and Dolny), Streichquartett Nr. 3, MB-Zagreb Group; 68. XLII World Festival Op. 22 (62. Holland String Quartet), of the ISCM. Quartet of Music Workshop); Streichquartett Nr. 5 (67. ), Horvath, Josef Maria: Origines (*77. Ensemble Symphonia Serena (71. NPO / Rowicki), 20. Jahrhundert / Burwik); Symphonie ‘Die Harmonie der Welt’ (*59. Hosokawa, Toshio: Cloudscapes – Moon Night NPO / Wisłocki); (*2005. Miyata, shô / Anzellotti, acc), Ferne Hirs, Rozalie: Roseherte (*2012. NPO / Rophé / Landschaft I (*90. Poznań PO / Michniewski), Wolniewicz, sound); Fragmente II (*97. Kotnowska, fl / Dafô Hodell, Åke: Mr. Smith in Rhodesia String Quartet), Preludio (*86. Cracow PO / (*98. text-sound composition); Strugała), Re-turning – Concerto for Harp Hodgkinson, Tim: Triple trios (*98. European and Orchestra (*2005. Yoshino / NPO / Wit), Improvisation Orch.), see also Frimann, Utsurohi-Nagi (*2005. Miyata, shô / NPO / Henning – Victor Nubla – Tim Yuasa), Voyage IV – Extasis (*2005. Anzellotti, 280 \ Hodgkinson; acc / Polish-German Youth Ensemble / Bohn), Hodgkinson, Tim – Birgit Ulherr – Albert Voyage IX ‘Awakening’ (**2007. Korhonen, gtr Márkos: Secret Piece (*98. European / Megaron Orch. / Warren-Green), Woven H Improvisation Orch.); Dreams (*2015. Janáček Philharmonic Hodkinson, Juliana: Angel View (*2016. Orchestra Ostrava / Nagy); Scenatet / Hodkinson, Barnow, sound / Hrabovsky, Leonid: And It Will Be (*96. Jensen, light), Why Linger You Trembling Continuum), Homöomorphia II (**70. Aloys in Your Shell? (Sadkowska, vn / Paweł Kontarsky, pf), Worzel (**92. Kiev Opera Nowicki, perc); House Orch. / Baley); Hodkinson, Juliana – Niels Rønsholdt: X & X Hrisanide, Alexandru: Volumes (**2017. Aulbert, voice / Walentynowicz, pf); (*66. Hermann, vc / Ibstrup, pf); Hoffmann, Robin: An-Sprache for body- Huang, Ruo: The Color Yellow (*2013. Wei, percussion (*2002. Ensemble Recherche); sheng / Polish Radio NSO / Liebreich); Högberg, Fredrik: Hawk Hordon and Kit Bones Huber, Klaus: Auf die ruhige Nacht-Zeit (*65. (*98. Hardenberger, tr / Lindberg, tbn); Dorow, sopr / Dastych, fl / Sroczyński, vla / Höller, York: Ex tempore (*2003. Polish-German Węsławski, vc / Madey), Cantio-Moteti- Youth Ensemble / Bohn), Improvisations sur Interventiones (*66. Orch. de Chambre le nom de Pierre Boulez (*87. Musica-Viva- de Lausanne / Desarzens), Cantiones de Ensemble / Wirrmann), Magische circulo gyrante (*87. Mende, sopr / Schork, Klanggestalt (*86. Philh. Staatsorchester, alto / Kunz, bar / Schaar­schmidt, speaker / Hamburg / Zender), Mythos (*86. tape / Stert, cb / Neue Vocalsolisten Stuttgart / Ensemble Modern / Holliger), Piano Concerto Ensemble des Instituts für Neue Musik (*91. Banfield / Pomeranian PO / Zilm), der SHM Freiburg / Tamayo), Cantiones Résonance (*85. Ensemble InterContemporain Hildegardis (*87. Neue Vocalsolisten / Tamayo), Topic (*70. Kölner-Rundfunk- Stuttgart / Schreier), Erinnere Dich an G… Sinfonie-Orchester / Gielen); (*86. Fichter, cb / Ensemble Modern / Holliger, Heinz: Ad marginem (*91. Camerata Holliger; 2013. Nied, cb / New Music Orch. / Bern / tape), Atembogen (*84. Junge Experimentalstudio des SWR / Bywalec), Deutsche Philh. / Holliger), Cardiophonie Quod est pax? – vers la raison du coeur… (*76. Holliger, ob / tape), Come and Go (*91. (**2007. Les Jeunes Solistes / SWR Neue Vocalsolisten Stuttgart / Junges PO, Sinfonieorchester Baden-Baden und Stuttgart / Schreier), Dona nobis pacem Freiburg / R. Huber), Tenebrae (**68. (*87. Neue Vocalsolisten Stuttgart / XLII World Festival of the ISCM. Polish Schreier), Eisblumen (*91. Camerata Bern), Radio NSO / di Bonaventura), ‘…Von Zeit zu Psalm (*87. Neue Vocalsolisten Stuttgart / Zeit…’ – String Quartet No. 2 (*89. Berner Schreier), Quintet for Piano and Winds (*93. Streichquartett); Ensemble Contrechamps), Streichquartett Huber, Nicolaus A.: …à l’âme de descendre (*76. Wilanów String Quartet), Scardanelli- de sa monture et marcher sur ses pieds de (excerpts) (*2005. Collegium Novum soie… (*2005. Rikus, m-sopr / Grimmer, vc / Zürich / Youth Music Forum / Hirsch), Trio Engel, baryton / Noth, acc / Kordylasińska, for Oboe, Viola and Harp (*80. H. Holliger / Pękala, perc), An Hölderlins Umnachtung Fukai / U. Holliger), Turm-Musik (*86. (*94. Musikfabrik NRW / Kalitzke), Nicolet, fl / Ensemble Modern / tape / Herbstfestival (*2006. Schlagquartett Köln), Intarsi (*2005. Keller, pf / Collegium basic programming / J. Chołoniewski, Novum Zürich / Hirsch), La force du vertige Pączkowski, programming); (*2002. Ensemble Recherche); Ivanovs, Janis: Swirling Clouds (*73. Latvian Hübler, Klaus K.: Reisswerck Academic Choir / Cepitis), Symphony No. 6 composers / compositions / performers / 1956–2019 (*89. Andersson, gtr); (*58. Leningrad PO / Sanderling), Hülcker, Neo: ASMR contemporary music Symphony No. 14 – Sinfonia da camera (*73. ensemble [tapping] [scratching] [brusching] Latvian Philh. Chamber Orch. / Lifšics); [whispering] (*2017. Decoder Ensemble / Ives, Charles: Allegretto sombreoso; A Set of Bereza, Kunda, sound); Pieces for Theatre or Chamber Orchestra; Hulme, Lance: Sisyphus Unchained / Stealing Hymn: Largo cantabile; Scherzo ‘Over Fire (*2001. NPO / Salwarowski); the Pavements’; The Gong on the Hook and Humble, Keith: Eight Bagatelles (*95. Ladder or Firemen’s Parade on Main Street; Harvey, pf); The Rainbow; (*87. Cracow Academy of Hurel, Philippe: Localized corrosion (*2010. Music Chamber Orch. / Wnuk-Nazarowa), Ensemble Nikel / Krause, sound), Pour Luigi All the Way Around and Back (*66. University (*2001. Court-Circuit / Valade), Tour à tour II of Illinois Contemporary Chamber Players), – La rose des vents (*2016. NPO / Kaspszyk / Central Park in the Dark (*78. Polish Radio Okoń-Makowska, Szymański, Czajkowska, and TV SO, Cracow / Wit and Salwarowski), sound); Fourth of July (*65. Poznań PO / Krzemieński), Hurt, Leopold: Aggregat (*2017. Decoder Hallowe’en (*69. Grupo Alea / Gil; 87. Cracow Ensemble / Bereza, Kunda, sound), Gate Academy of Music Chamber Orch. / Wnuk- (**2014. Hurt, e-zither/ European Workshop Nazarowa), Old Home Day (*72. Barron, bar / for Contemporary Music / Bohn); Świątek, fl / Bruce, pf), Orchestral Set No. 2 Husni, Nadim: Water: Miniature no. 2 (**2014. (*88. Cracow PO / Levine), Piano Sonata No. 2 Cracow Music Academy Composition ‘Concord’ (*72. Ogdon; 85. Henck, pf / Students / Koczur); Gajewska, fl / Duś, vla), Ragtime Dance No. 2 Hussar, Małgorzata: Nocturne (92. Polish (87. Cracow Academy of Music Chamber Radio Chamber Orch. ‘Amadeus’ / Duczmal); Orch. / Wnuk-Nazarowa), Robert Browning Huszcza, Anna Maria: AB-synth schaevarius Overture (*66. Polish Radio NSO / Krenz), (**2009. tape); Sonatas Nos. 1-4 for Violin and Piano (83. Hykes, David: Alleluia; Deserted Temple; Błaszczok / Knapik), String Quartet No. 1 (87. Hearing Solar Winds; Singing in the Heart; Silesian String Quartet), String Quartet No. 2 Windhorse Riders (*92. The Harmonic Choir); (75. Wilanów String Quartet), Symphony No. 3 Ibert, Jacques: Cinq pièces en trio (*58. ‘The Camp Meeting’ (*78. NPO / Kaspszyk; Perrier, ob / Medous, cl / Michon, fg), 96. Sinfonia Varsovia / Michniewski), Trois pièces brèves (*58. Quintette à Vent Symphony No. 4 (*72. Polish Radio and de Toulouse); TV Choir, Cracow / Polish Radio NSO / Lane Ichiyanagi, Toshio: Music for Living Process, and Bamert), The Unanswered Question (87. second version (*76. Tokk Ensemble), Cracow Academy of Music Chamber Orch. / Sapporo (*64. performed as ballet Story. tape Wnuk-Nazarowa), Three Places in New / Merce Cunningham Dance Company), England (*76. Polish Radio and TV SO, String Quartet No. 1 (*84. Silesian String Cracow / Kaspszyk), Tone Roads No. 3 Quartet), Tokyo 1969 (*69. tape); (*64. Cracow PO / Markowski; 87. Cracow Ilyev, Konstantin: Duo concertante (*64. Lechev, Academy of Music Chamber Orch. / Wnuk- / 281 vn / Galabova, pf), Stimmen der Ebene (*81. Nazarowa), Trio for Piano, Violin and Cello Female Choir of the Institute of Musical (*71. Musica Nova Bucharest), Twelve Songs Pedagogy, Plovdiv / Chetinian), String Quartet for Voice and Piano (*72. Barron, bar / Bruce, H–J No. 4 (*66. Dimov String Quartet); pf), see also Mobile […]; Incardona, Federico: Mehr Licht! Ives, Charles – Larry Austin: Universe (*94. Zephir Ensemble / La Licata); Symphony (*95. NPO / Karolak, Olędzki, Incontrera, Carlo de: For Four and More Powolny and Rogala, assistant-cond. / (*70. Tilbury, pf / Music Workshop); Kaspszyk, cond.); Ingólfsson, Atli: La Métrique du Cri Jabłoński, Maciej: Night in Bedroom (**2016. (*98. Caput Ensemble / Gunnarson); Górczyński, cl), Symphony No. 4 (**2002. Installation presenting films about composers Malanowicz, org / NPO / Wit); (2009): George Aperghis – Storm Beneath Jabłoński, Maciej – Przemysław Fiugajski: a Skull, dir. C. Maximoff, The Little Red Riding Księżycowy Pierrot (**2012. Pacek, actor / Hood, dir. J.-B. Mathieu / Pierre Henry New Music Orch. / Bywalec / Fiugajski, – The Art of Sounds, dir. E. Darmon, F. Mallet libretto / Gietzky, direction / J. Bui-Ngoc, / Henri Pousser – Hommage au sauvage visualization / Jabłoński, Pawełek, live – Un portrait d’, dir. G. M. electronics); Hinant / Eugeniusz Rudnik – Gieniu, ratuj! Jabri, Zaid: Computer Music No. 1 (2004. tape), – 50 lat twórczości Eugeniusza Rudnika, dir. GLYPTOS (**2005. Caroli, fl / Cracow B. Błaszczyk / Bogusław Schaeffer – Solo, Percussion Group), Ode to Maulana Rumi dir. M. Pisarek / Pierre Schaeffer – (**2014. Nasif, / Cellonet / Bauer / Le monde et les ondes de Pierre Schaeffer, Błaszczak, sound); dir. L. Déramond, G. Follin, M.-C. Schaeffer; Jackowski, Dariusz – Adam Porębski: Interrupted Voyage (**2019. screening of a film @piacere (**2017. interactive installation); about Andrzej Krzanowski; Sosiński, dir.); Jaffe, David A.: Ellis Island Sonata Ioachimescu, Calin: Palindrom / 7 (*87. Jaffe, mnd); (*2008. Profil Ensemble / Soaru); Janáček, Leoš: Adventures of the Cunning Ioannidis, Yannis: Dance Vision (**80. Music Little Vixen (75. Brno State Opera / Vežnik, Workshop); staging / Jilek, musical dir.), Concertino for Irgens-Møller, Christer: The Directory (*98. Piano and Chamber Ensemble (62. Melos European Improvisation Orch.), see also Ensemble; 80. Richter, pf / Instrumental Björkenheim, Raoul – Birgit Ulherr – Albert Ensemble of Moscow Conservatory / Márkos – Christer Irgens-Møller; Nikolayevsky), From the House of the Dead Irino, Yoshiro: Klänge für Klavier und Schlagzeug (75. Brno State Opera / Vežnik, staging / (*76. members of the Tokk Ensemble); Nosek, musical dir.), Sinfonietta (56. Brno PO Ishii, Maki: Black Intention I (*96. Yan, fl / Bakala), String Quartet No. 2 (61. Novák a becco), Kyo-so (*73. Sinfonie-Orchester String Quartet); des Hessischen Rundfunks, Frankfurt / Janicki, Paweł: LutoScratch (2013. interactive Iwaki), So-Gu III (*76. Tokk Ensemble / Ishii); installation), Mapping Chopin (**2010. Iter / Eter (Ither / Ether) – ithernal / ethernal, interactive audiovisual installation), see interactive installation (2009. M. Chołoniewski, also Robakowski, Zbigniew – cooperation: concept / Sych, ISA harp construction and Wiesław Michalak, Paweł Janicki; Janson, Alfred: Nocturne (*73. Radiokören Jørgensen, Klaus Ib: Lacrima (*2004. Stockholm / Ericson); Majkusiak, acc / Sadkowska, vn / Pałosz, vc); Janssen, Guus: Bluebridge / Blauwbrug Jünger, Patricia: Zeitläufig (*88. Żytyńska, composers / compositions / performers / 1956–2019 (*2001. Worms, pf), Dans van de Malic Heiniger, 2 perc); matrijzen (*80. Janssen, pf / Het Residentie Jurgutis, Vytautas: Sound Masks (*2004. tape), Orkest / Bour), Ijoh (*2001. van Bergen, sax), see Bialobžeskis, Martynas – Antanas Sprezzatura (*85. Sparnaay, b cl), Verstelwerk Jasenka, Vytautas V. Jurgutis, Jonas (*2001. Loos Ensemble), Woeha (*90. Orkest Jurkūnas; de Volharding / van Zeeland); Jurkūnas, Jonas – see Bialobžeskis, Janulytė, Justė: Aquarelle (*2012. Camerata Martynas – Antanas Jasenka, Vytautas Silesia / Szostak); Sandglasses (*2011. V. Jurgutis, Jonas Jurkūnas; Gaida Ensemble: Edmundas Kulikauskas, Juzeliunas, Julius: String Quartet No. 1 Jacunskas, Justas Kulikauskas, (*65. State Lithuanian Quartet); Švabauskaitė, 4 vc / Janulytė, concept / Kabeláč, Miloslav: Eufemias Mysterion (**65. Scarzella, video dir. / Tadini, Raggi, live Torbus-Mierzwiakowa, sopr / Silesian PO / electr. / Paulėkaitė, scenography / Stryja), Improvisation (*58. Tomaszczuk, fl), Sabaliauskas, Vilutis, light dir.), Textile 8 Invenzioni per strumenti a percussione (*78. (*2015. NPO / Kaspszyk); Malmö Percussion Ensemble), 8 Ricercari Jaroch, Jiři: Symphony No. 2 (*80. Warsaw Percussion Group); (*62. Prague Chamber Orch.); Kaczyński, Adam: Shape (97. Kaczyński, Jarrell, Michael: Anagramme Mietelski, 2 pf); (*93. Ensemble Contrechamps); Kadosa, Pál: Pian e forte (*64. Hungarian Jasenka, Antanas – see Bialobžeskis, State PO / Lehel); Martynas – Antanas Jasenka, Vytautas Kafejian, Sergio: Interioração (*2008. V. Jurgutis, Jonas Jurkūnas; Okoń-Makowska, Błażejczyk, sound); Jasiński, Marek: Tu es Petrus (85. Szczecin Kagel, Mauricio: 1898 (*2008. Warsaw Boys’ Technical University Choir / Szyrocki); Choir of F. Chopin University of Music / Jaskot, Dobromiła: Hum… (**2008. Zgas, Ara Ensemble / Angius), Acustica II (*71. beatboxer / Kwartludium), INGWAZ (**2005. Das Kölner Ensemble für Neue Musik / Polish-German Youth Ensemble / Bohn), Kagel), Atem (*74. Sparnaay, b cl; 2002. Linearia (**2007. Silesian String Quartet); Lomuto, tbn / tape), Con voce (*77. Music Jazylbekova, Jamilia: S.O.G. (**2012. Frenkel, Workshop), Ein Brief (*86. Schwarz, ContrA / Ensemble Experimental / m-sopr / Philh. Staatsorchester Hamburg / Heusinger / Experimentalstudio des SWR); Zender; 2012. Zalesińska, m-sopr / Jeney, Zoltán: End Game (*75. Kocsis, pf), NPO / Rophé), General Bass (*77. Music Movements of Eye (96. Kocsis, pf), Orpheus’ Workshop), Hallelujah (*96. music film), Garden (*75. Uj Zenei Studió / Simon), Self- Improvisation ajoutée (*63. Welin, org), quotations (*96. Componensemble / Serei); In der Matratzengruft (*2010. Brutscher, ten / Jennings, Terry: Piano Piece No. 1 – 1965 Musikfabrik / Pomárico), Kammermusik für ‘Winter Trees’ (*70. Tilbury); Renaissance-Instrumente (*72. Fistulatores Jentzsch, Wilfried: Couleurs (*70. NPO / et Tubicinatores Varsovienses / Piwkowski; Markowski), Improvisation T 12/57 (*86. 2014. Theatrum Instrumentorum / Chojnacka, cemb / tape), Paysages PC Dobrzański), Klangwölfe (*85. Gawriloff, 282 \ (*88. Pilch, perc / tape), Rplay (**2001. vn / Banfield, pf), Match (*68. music film), Pilch, perc / computer); MM 51 (*96. music film), Montage Jia, Guoping: Whispers of a Gentle Wind (*2014. (*81. Bruck, Ross, 2 gtr), Musik für J–K Forbidden City Chamber Orchestra / Liu); Tasteninstrumente und Orchester (*90. Jodlowski, Pierre: Ghostland (**2017. Salamon, Siwiński, 2 pf / Perliński, Les Percussions de Strasbourg / Jodlowski, Włodarski, 2 electr org / Poznań PO / concept, lighting project, video, live Michniewski), Nah und Fern (*96. tape), electronics / Muschiol, puppeteer / Donato, Norden (96. Schönberg Ensemble / sound), Hyperspeed Disconnected Motions de Leeuw), Osten (*90. Schönberg Ensemble (**2012. Duo Petrini-Jünger / Jodlowski, / de Leeuw), Pas de cinq (*71. Salonkonzerte video / Błażejczyk, sound), Série Rose (2017. MobArt & TonArt), Phantasie für Orgel mit Walentynowicz, pf / Guziołek-Tubelewicz, Obbligati (*80. Zacher), Phantasiestück sound); (*91. Schönberg Ensemble / de Leeuw), Johansson, Johannes: Bränd Himmel (*92. Prince Igor, Stravinsky (*84. Carmeli, bass / Thiwång, fl / tape), …någon annastans… åter instrumental ensemble / Méfano), (**88. Electric Swedes: Thiwång, fl / Rondin, Repertoire (*92. Bauhaus Dessau / Foron, vc / Widlund, pf / tape), Polyhymnia, Thalia, staging), Rrrrrr… (*99. Marosek, org), Melpomene (*98. Wesołowski, pf); Six Percussion Duets from ‘Rrrrrrr…’ Johnson, Bengt Emil: As ‘In Time’ Goes By (*88. Mark Pekarsky Percussion Ensemble, (**78. tape), Disappearances (*80. Esztényi, Moscow), Solo (*68. music film; XLII World pf / tape), Vittringar (98. text-sound Festival of the ISCM), String Quartet No. 3 composition); (*90. Arditti String Quartet), Süden (*90. Johnson, Tom: An Hour for Piano (*86. Schönberg Ensemble / de Leeuw), Szenario / Esztényi), Simultaneous Progression Un Chien Andalou (*96. music film), (*97. Nonstrom); Transición I (*62. tape), Transición II (*61. Johnston, Benjamin: Crossings (*78. Aloys Kontarsky, pf / Caskel, perc / tape), Assmann-Quartett), Knocking Piece Unguis incarnatus est for piano and… (*77. (*66. University of Illinois Contemporary Music Workshop; 79. Słowiński, pf / Chamber Players / McKenzie); Monighetti, vc); Jolas, Betsy: Autour (*86. Chojnacka, cemb), Kalabis, Viktor: Chamber Music for Strings Musique d’hiver (*74. Darasse, org / Orch. (*70. Czechoslovak Radio SO / Nohejl); Philh. de la RTF / le Roux); Kalsons, Romuald: Clarinet Concerto (*84. Jolivet, André: Concerto pour flûte et orchestre Paže / Latvian Philh. Chamber Orch. / Lifšics); à cordes (*59. Gazzelloni / NPO / Wisłocki), Kałamarz, Wojciech: Fonos (2004. tape); Symphonie No. 1 (*56. Orch. National Kampe, Gordon: Dwarfs (**2011. European de la RTF / Martinon), Symphonie No. 3 Workshop for Contemporary Music / Bohn); (*67. Orch. Philh. de la RTF / Bruck); Kampela, Arthur: As if (**2013. Rojko, cl / Jónsdóttir, Thurídur: Flutter (*2019. Caroli, fl Tomljanovič, gtr / Juhart, acc), Quimbanda / NPO / Hermanto / Okoń-Makowska, (*2003. Hijmans, electr gtr); Kunda, sound); Kancheli, Giya: Day Prayers (*95. Kitowski, cl / Jørgens, Pere Oliver – Niels Winther – Fandrii, boy sopr / Polish Radio Orch. / Krzysztof Knittel: Trio (*98. Jørgens, perc / Rajski), Evening Prayers (*95. Group of Knittel, synth / Winther, tenore sax, bass gtr); Altos from NP Choir / Sinfonia Varsovia / Maksymiuk), Kápote (*2007. Zerbinos, acc / La Mandragore Nederland / Roehring, Megaron Orch. / Warren-Green), Life Without idea and staging), Makro II (*78. tape), Christmas: Morning Prayers (*95. Sinfonia Schwingungen (*64. Cracow PO / Varsovia / tape / Spanjaard), Light Sorrow Markowski), Vectors I (*61. Cracow Philh. composers / compositions / performers / 1956–2019 (*91. Poznań Boys’ Choir / Pomeranian PO / Chamber Orch. / Markowski), Vectors II Zilm), Night Prayers (*95. Silesian String (*73. Sinfonie-Orchester des Hessischen Quartet / tape), Symphony No. 6 (*86. Rundfunks, Frankfurt / Markowski), Georgian SO, Tbilisi / Kakhidze), Valse boston Quanten (*80. Esztényi, pf); (*97. Olejniczak, pf / Polish Radio Orch. / Kazandjiyev, Vasil: Festive Music (*83. Sofia Michniewski); PO / Ilyev), Perspectives (*66. Dimov String Kang, Sukhi: Dal-a (**80. Music Workshop), Quartet), Symphonie des (*68. Sofia Dalha (*81. Polish Radio NSO / Kaspszyk), Chamber Orch. / Kazandjiyev); Inventio musicae clavichordi et sonorum Kazanecki, Waldemar: 3 contra 3 (*71. artificiosorum (*85. Dutkiewicz, pf / tape); Warsaw Harp Trio / tape); Kang, Sukhi – Folkmar Hein: Odyssee (*87. tape); Kazińska, Małgorzata – Tomasz Skweres: Kanki, Shinji: Mélange à trois (**98. Siudmak, In search of the Thingssound (**2019. Freszel, vn / Savikangas, vla / Voss, vc); sopr / Skweres, vc / Kazińska, script / Kaplán, Adolfo: Hors Chants, music video Muras, stage design); (*2008. Okoń-Makowska, sound), Sombras, Kelemen, Milko: Changeant (*71. Palm, vc / music video (*2008. Okoń-Makowska, sound); Radio PO, Hilversum / Hupperts), Equilibres Kapuściński, Jarosław: Catch the Tiger (97. (*63. Cracow PO / Markowski), Motion (*69. Kapuściński, pf / tape), Enso (**2005. Schick, Quartetto della Società Cameristica Italiana); perc / Hob-beats Duo, perc / Polish Radio Keliehor, Jon: Class (*81. tape / London Orch. / computer projection / Gazon), Contemporary Dance Theatre / Cohan, Japatul (*96. Schick, perc / video), Jatayu choreography); (87. Kapuściński, pf / tape), Mondrian Kelterborn, Rudolf: Tableaux encadrés Variations (92. video), Where Is Chopin? (*91. Camerata Bern); (**2010. Kapuściński, Disklavier / Kessler, Thomas: Drum Control (*85. Schulz, Błażejczyk, sound; also as an audiovisual perc / Kessler, computer), Lost Paradise installation), see also Haffner, Nik – (*76. Basel Ensemble / Holliger), Piano Jarosław Kapuściński; Control (*76. Kessler, pf and synth); Karabits, Ivan: Concerto for Orchestra No. 2 Ketting, Otto: Due canzoni (*63. NPO / (*89. Ukrainian SO, Kiev / Blazhkov); Krzemieński), Symphony for Saxophones Karaev, Faraj: Postludia (*2004. Tantsov, cl / and Orchestra (*80. Bogaard, Vanvelzen, Khodina, vn / Galotchkina, vc / Dubov, pf); Vonoostrom and Landa / Het Residentie Karayev, Kara: Tracing the Thunder (*60. Orkest / Bour); Ballet Ensemble of the Bolshoi Theatre, Keuris, Tristan: Symphony in D (*99. Radio Moscow / Orch. of the Grand Theatre, Kamerorkest Hilversum / Eötvös); Warsaw / Sergeyev, staging / Svetlanov, Khatchaturian, Aram: Symphony No. 2 (56. musical dir.); G. Enescu PO / Georgescu; 72. Silesian PO / Karkoschka, Erhard: Quattrologe- Khatchaturian); Streichquartett 1960 (*69. Quartetto della Khrennikov, Tikhon: Piano Concerto No. 2 Società Cameristica Italiana); (*72. Khrennikov / Silesian PO / Stryja); Karlsson, Erik Mikael: La Disparition de l’Azur Kilar, Wojciech: Angelus (92. Januszewska, / 283 (*97. tape), see also Hedman, Jens – Erik sopr / Silesian PO and Choir / Swoboda), Mikael Karlsson; Bogurodzica (76. NPO and Choir / Rowicki), Karlsson, Erik Mikael – Fredrik Ekman: Diphthongos (*64. Cracow PO and Choir / K En förtrollad natt, Part 1 (*98. text-sound Markowski), Exodus (**81. Polish Radio and composition); TV Choir, Cracow / Polish Radio NSO / Karmanov, Pavel: Get in!! (**2005. Seattle Kaspszyk; 92. Silesian PO and Choir / Chamber Players); Swoboda), Générique (**63. Silesian PO / Karpen, Richard: Exchange (*88. Thiwång, fl / Stryja; 2017. Polish Radio NSO / Liebreich), tape), Il Nome (*91. Januszewska, sopr / Grey Mist (80. Bachleda, bar / Cracow PO / tape), Life Study No. 5 (*97. tape), Strand Katlewicz), Herbsttag (**61. Szostek- Lines (*2009. Östersjö, gtr / Karpen, Radkowa, m-sopr / Chamber Ensemble of electronic media and ambisonic sound Silesian Philh. / Stryja), Kościelec 1909 (77. projection / Sowa, integration of visual Polish Radio NSO / Maksymiuk; 92. Silesian spaces, lighting); PO / Swoboda), Krzesany (**74. NPO / Krenz; Karski, Dominik: Certainty’s Flux (**2013. 92. Silesian PO / Swoboda), Piano Concerto Hellqvist, vn), In Search of Certainty (**2017. (**97. Peter Jablonski / Polish Radio NSO / Diotima Quartet), OverFlow (*2007. Elision Wit), Prelude and Christmas Carol (**72. NPO Ensemble), Streams of Consciousness / di Bonaventura), Riff 62 (**62. Silesian PO / (*2003. Talmacs, vla / Gartner, vc); Stryja; 2002. Polish Radio NSO / Chmura), Kasparov, Yuri: Hommage à Honneger (**2005. Small Overture (56. Silesian PO / Stryja), Moscow Contemporary Music Ensemble / Solenne (**67. Malewicz-Madey, m-sopr / Vinogradov), Reminiscence (*2004. Dubov, pf Orch. Philh. de la RTF / Bruck), Springfield / tape), Seven Illusory Images of Memory (*97. Sonnet (*65. NPO / Rowicki), Training 68 Moscow Contemporary Music Ensemble / (**68. Music Workshop), Upstairs-Downstairs Vinogradov); (**71. Soprano Choir of the Secondary Kaszycki, Lucjan: Atlantis (**91. tape); School of Music, Katowice / Silesian PO / Kats–Chernin,­ Elena: Gypsy Ramble (*2003. Stryja; 2007. ‘Alla Polacca’ Children’s and Ensemble Offspring); Youth Choir / Sinfonia Varsovia / Lyndon-Gee); Kats-Chernin, Elena – Kirsten Winter: Smash King, John: see 1) Knittel, Krzysztof – John (*2000. ZKM, Karlsruhe); King, 2) Zarębski, Krzysztof – John King; Katzer, Georg: Madrigale (*93. Camerata Kiniorski, Włodzimierz: see Chołoniewski, Silesia / Kopeć, Iwicki, perc / Szostak), Marek – Piotr Bikont – Włodzimierz Tren X (**87. Januszewska, sopr / Esztényi, Kiniorski – Krzysztof Knittel; pf), Mein 1989 (*90. tape); Kisielewski, Stefan: Capricious Impressions Kaufmann, Dieter: Der West-Östliche Walzer (84. Gajewska, fl), Concerto for Chamber (**80. Music Workshop), Grand jeu (*2002. Orchestra (56. G. Enescu PO / Basarab), Lenko, acc / tape), Musikalische Werkstatt Cosmos I (89. NPO / Strugała), Danse vive (**72. Music Workshop); (63. Kędra, pf), Piano Concerto (**91. Kayn, Roland: Allotropie (**66. Orch. RAI Drewnowski / Silesian PO / Swoboda); Torino / Markowski), Makro I, music to Kivu, Andrei: Anoxia (*2007. Electric Pro cybernetical motion play Cosmic Circus Contemporania), Roar (*2002. Kivu, saxtb / (*81. tape / Ensemble MIME Theatraction Anghel, pf and perc / tape); Kiwer, Wojciech – Justyna Mazur: Hideaway of (2009. Stańko, tr / Knittel, sampler and Sounds (**2018. interactive installation), Isle synth), St Matthew Passion (2006. Bręk, bar / of the Sirens (**2018. interactive installation); W. Gierlach, bass / Lipska, Lachowicz, composers / compositions / performers / 1956–2019 Kiyama, Hikari: Kabuki (*2018. Black Page 2 m-sopr / Kur, ten / Knittel, electronic instr. Orchestra / Garms / Froschauer, sound); / vocal ensemble / Duo Hob-beats, perc / Klang / Licht / Duft-Spiele. Programme Polish Radio Chamber Orch. ‘Amadeus’ / composed of pieces by: Josef Anton Riedl: Duczmal), The Conqueror Worm (91. tape), Klangsynchronie; James Whitney – J. A. Riedl: Trio V2R (**2003. Walter Verdehr Trio / tape), 59 62/2; John Whitney Jr. – J. A. Riedl: Vagante (**2005. Górczyński, cl / Sadkowska, The Screen Film No. 2; : vn / Nowicki, perc / Nowicki, pf / Polish Radio Experiences II: She is asleep; J. A. Riedl: Orch. / Łuczyński, video / Partyka, tape / Vielleicht-Duo; Rhipsalis / Silphium; Gazon), see also 1) Chołoniewski, Marek Klangsynchronie (*75. Musik / Film / Dia / – Piotr Bikont – Włodzimierz Kiniorski – Licht-Galerie / Riedl, dir.); Krzysztof Knittel, 2) Chołoniewski, Marek – Klapper-Rybicka, Magdalena: Tiergarten. Krzysztof Knittel, 3) Group KEW, 4) Jørgens, 3rd Level of Gaiety (**97. tape), Instrument Pere Oliver – Niels Winther – Krzysztof Knittel; Area I (*99. tape); Knittel, Krzysztof – John King: Heart Piece – Klapper, Martin – Raymond Strid: Circles Double Opera (**99. Pasiecznik, sopr / Moss, (*98. European Improvisation Orch.); batt and voice / King, gtr and voice / Knittel, Klapper, Martin – Joan Saura Marti – synth and voice / Dafô String Quartet / Raymond Strid: Trio (*98. Klapper, toys/ Zarębski, set design / Wojtyszko, dir.); Strid, perc, live electronics / Marti, sampler); Knussen, Oliver: Songs Without Voices Kleemann, Matthias: Konzert für Oboe und (*95. Ensemble Alternance / Masson); Orchester (*74. Abel / Rundfunk- Kobayashi, Akemi: Circle (*2005. Ensemble Sinfonieorchester Berlin / Rögner); TIMF / Bohn); Klein, Judy: From the Journals of Felix Kochan, Günter: Divertimento, Op. 12 (*59. Bossonet (*91. tape); Gewandhaus-Quintett), Sinfonietta 1960 Klusák, Jan: Die heilige Zahl (*78. Gadzina, (*63. Dresdner PO / Bongartz); vn / Rutkowski, perc), Studies after Kafka Koch, Sven-Ingo: Der Durchbohrte (*2011. (*61. Michałowska, recitation / Cracow Rothbrust, batt / tape / Musikfabrik / Masson); Philh. Chamber Orch. / Markowski), Tango- Kochan, Jacek: Alsamples (**2006. Polka (**80. Music Workshop), Variations on Hautzinger, quarter-tone tr / Kochan, perc / the Theme of Mahler (74. NPO / Krenz); Sorok, b cl / Światczyński, tbn / Wojaczek, vc Kluzner, Boris: Sonata for Violin and Piano / Kubicki, cb / Ensemble of International (*62. Vayman / Karandashova); School of Traditional Music in Lublin); Knaack, Donald: Dance Music II (*80. Knaack, Kocsár, Miklós: Due lamenti (*68. XLII World perc / tape / film), see also Zacher, Gerd Festival of the ISCM. Sziklay, sopr / Fellegi, – Donald Knaack; pf), Repliche (*75. Matuz, fl / Fábián, cimb); Knaifel, Alexander: Lamento (**83. Kodály, Zoltán: Psalmus Hungaricus (64. Monighetti, vc); Ilosfalvy, ten / Budapest Choir / Hungarian Knapik, Eugeniusz: Corale, interludio e aria State PO / Lehel); (79. Tchernyadyeva, fl / Korchmar, cemb / Koechlin, Charles: Les Heures Persanes Leningrad Chamber Orch. of Old and (*88. Henck, pf / Keilitz, paintings); 284 \ Contemporary Music / Serov; 2002. New Koenig, Gottfried Michael: Suite (*66. tape); Music Orch. / Bywalec), Hymn (94. Koffler, Józef: Love (71. Malewicz-Madey, Nonstrom), Introduction to Mystery (2006. m-sopr / Musica Nova Bucharest), String Trio K Černý, ten / Polish Radio Choir, Kraków / (64. members of the Novák String Quartet; Polish Radio NSO / Chmura), Islands 86. Livschitz Trio), Symphony No. 3, Op. 21 (84. Polish Chamber Orch. / Maksymiuk), (96. Spring Orch. of Warsaw Autumn / La Flûte de jade (80. Januszewska, sopr / Het Zhadko), Variations for String Orchestra Residentie Orkest / Bour), La libertà chiama (66. NPO / Wisłocki); la libertà. Scenes: I, III and V from the opera Kofroň, Petr: Enhexe (*93. Agon Ensemble / in concert version (**96. Kłosińska, Kofroň); Iżykowska, 2 sopr / Kryger, m-sopr / Rappé, Köksal, Füsun: Deux visions pour sextuor alto / Kruszewski, bar / Cracow Philh. Choir (*2013. Ensemble Phoenix Basel / / Polish Radio NSO / Wit), Le Chant (**77. Henneberger); Januszewska, sopr / NPO / Michniewski), Kolman, Peter: Molizácia (*66. Hudba dnéška), Partita (97. Bąkowski, vn / Knapik, pf), Silent Monumento per 6.000.000 (*67. Slovak PO, Screams, Difficult Dreams. lst Scene from Bratislava / Rajter); the opera in concert version (**92. Kolomiiets, Maxim: …soft glass… (**2017. Birkeland, Schweitzer, 2 sopr / Dagois, European Workshop for Contemporary Pareuil, 2 m-sopr / Cracow Philh. Choir / Music / Bohn); Polish Radio NSO / Howarth), String Quartet Komadina, Vojin: Microsonatas (*67. (81.; 2006. Silesian String Quartet; 2001. MB-Zagreb Group / Gjadrov); Akademos Quartet), Tha’ Munnot Waste No Komorous, Rudolf: (*64. Musica viva Time (99. Esztényi, Mironiuk, Knapik, 3 pf / Pragensis), Sladka králevna (*66. Hudba Romański, cl), Trio for Violin, Clarinet and dnéška); Piano (**2003. Walter Verdehr Trio), Up into Komsta, Marzena: Agmen (95. Muziekgroep the Silence (**2001. Kłosińska, sopr / De Ereprijs / Boerman), Nuit/Portait Drabowicz, bar / Polish Radio NSO / (*2003. Algoritmo Ensemble / Angius), Chmura), Versus I (95. Gembalski, org); Oqivian (2001. tape); Knittel, Krzysztof: As If They Weren’t Here, Kondo, Jo: Retard (*97. Macchia- Or the Revolt at Królikarnia (**2015. sound Kadłubkiewicz, vn); installation), Dorikos (77. Wilanów String Kopeć, Andrzej: see Chopout; Quartet / tape; 2006. Dafô String Quartet / Kopelent, Marek: A Few Minutes with an Oboist tape), free for(m) macwin_2 (**2012. Knittel, (*86. Ensemble Modern / Holliger, ob and live electronics / Błażejczyk, sound), Histoire III conducting), Cantus supplex (*87. Groupe (92. Chojnacka, cemb / tape), odds and ends Vocal de France / Reibel), Das Schweißtuch (**78. tape), Out of the depths have I cried der Veronika – Sonata per 11 archi (*74. string unto thee, O Lord… (**2000. Camerata Silesia ensemble / Kawalla), Legenda ’De Passione / tape / Szostak), points / lines (75. St. Adalberti martyri’ (**81. Lipski, recitation Pacanowski, cl / Okoń, slides / Knittel, / Silesian PO and Choir / Stryja), Mother sound), Prelude; Preludes 1-4 (93. (**65. Chudyba, fl / NP Choir / Kuklewicz), Krzanowska, pf), snatches of memory (II) Pozdraveni (**86. NPO / Kord), String Quartet (**2007. R. and Z. Ibelhauptas, 2 pf / No. 3 (*64. Novák String Quartet), String Jarnicki, video), Sonata da camera No. 1 Quartet No. 4 (*73. Wilanów String Quartet), Vacillat pes meus (*79. Szczecin Technical and Orchestra (**2000. Wiłkomirska / University Choir / Szyrocki), Voix errante (*71. Silesian PO / Błaszczyk), Concerto per Jirásková, recitation / Musica viva Pragensis clarinetto e orchestra (**2003. Kam / NPO / / Vostřák); Wit), Concerto per oboe e orchestra (*72. composers / compositions / performers / 1956–2019 Koprowski, Peter Paul: String Quartet No. 1 Faber / Polish Radio NSO / Lane), Concerto (*83. Wilanów String Quartet); per quattro (*61. Cracow Philh. Chamber Kopytman, Mark: Canti II (*86. Livschitz Trio), Orch. / Markowski), 7 Haiku (**94. Memory (*89. Bashari, alto / NPO / Towarnicka, sopr / Gajewska, fl / Urbaniak, Strugała), Rotations (*87. Pańko, m-sopr / fl a becco / Malikowski, ob / Skubis, cl / Silesian PO / Stryja); Sikorzak-Olek, hp), Herbstlied (*87. Korndorf, Nikolai: Get Out!!! (*2005. Seattle Chojnacka, cemb / tape), La gioia (91. Chamber Players), Hymn I ‘Sempre tutti’ Concerto Avenna / Mysiński), Microstructures (*2005. NPO / Yuasa); (*63.; 87.; 97. tape), Midsummer (*80. Kornowicz, Jerzy: Charms (**2001. BBC Music Workshop), Musical Games Singers / Joly), Coma Berenices (93. (*74. Den Norske Blasekvintett; 2005. Krzanowska, pf), Dawning Light No. 1 – Ensemble TIMF / Choe), Musica per fiati ‘Prague’ (2008. Orquesta Sinfónica de Radio e timpani (*64. Polish Radio NSO / Krenz), Televisión Española / Tamayo), Frayed Music for Sixteen and Strings (**69. figures (**99. New Music Orch. / Lasoń), NPO / Krenz), Musique en relief (*60. NPO / Heaps (**2007. Sinfonia Varsovia / Lyndon- Wisłocki), Northern Lights (Aurora Borealis) Gee), Relation (92. Thiwång, fl), Scenes from (*2002. Łabanow, cemb / tape), Pour quatre Boundless Realms (**2006. Mud Cavaliers / (68. Music Workshop), Quintet for Wind Ensemble of International School of Instruments (**65. Wind Quintet of NP), Traditional Music in Lublin), Scenes from 3 Rhythmical Studies (**95. Harvey, pf), Bulgakov for piano and ensemble. Version Sirocco (*81. Polish Radio and TV SO, with improvising computer (**2010. Orkest Cracow / Wit), Sound Games (*67. tape), De Ereprijs / Boerman / Błaszczak, sound), Speculum vitae (**96. Polish Radio Orch. / The Big Crossing (*2015. Tavanets, pf / NPO Michniewski), Spring Music (*78. Aitken, fl / / Kaspszyk / Okoń-Makowska, sound), Pędziałek, ob / Rezler, vn / Knittel, synth), The Hour of Metamorphoses – Echo, King Study for One Cymbal Stroke (60. tape; 2017. Midas and the Swans (**2012. Mleczko, sax / tape), Symphony No. 1 (**95. Polish Radio Górczyński, cl / Piernik, tb / Jędruch, NSO / Wit), Tableaux vivants dans un jardin Lorent, batt / Sudnik, electronic instr. / à l’anglaise (*86. Kotoński, synth / tape), Kornowicz, pf / Osiński, dance / Pupils Terra incognita (**84. NPO / di Bonaventura), of the Grammar School No. 50 run by Tierra caliente (93. tape), Tlaloc (*89. the Culture and Education Association / Chojnacka, cemb / Gualda, perc), Trio per Chwedorzewska, Kornowicz, script flauto, chitarra e percussione (*61. Gazzelloni and direction), The Incessant Spinning / Malik / Woźniak), Wind Rose (77. Polish of Things (97. Bąkowski, vn), The shapes of Radio NSO / Maksymiuk), see also Wings; the elements (**2000. Chojnacka, Kötter, Daniel: TraumArbeitFlügelSalz, sound cemb / tape); installation (**2007), see also Seidl, Hannes Koroliov, Andrej: illegal sunshine fry my eyes – Daniel Kötter; (*2017. Decoder Ensemble / Bereza, Kotyczka, Stanisław: Permutations Kunda, sound) (**62. Krauze, pf); / 285 Korsun, Anna: In einem anderen Raum Kourliandsky, Dmitri: Brown Study (*2005. (*2017. NPO / Kaspszyk), Landscapes Moscow Contemporary Music Ensemble / (*2012. Camerata Silesia / Szostak); Vinogradov); K Kortekangas, Olli: Iscrizione (**90. Toimii Kozłowski, Błażej Wincenty: Water: Miniature Ensemble); no. 1 (**2014. Cracow Music Academy Kosecka, Martyna: Air: Miniature no. 2 Composition Students / Koczur); (**2014. Cracow Music Academy Kranebitter, Matthias: Concerto for Composition Students / Koczur), Theme: the Invisible Hand (Adam Smith) (*2018. Black Music of Tensions (**2009. tape); Page Orchestra / Froschauer, sound); Koskinen, Jukka: Ululation (*98. Avanti! Krasavin, Yuri: Sàngó (*2005. Seattle Ensemble / Franck); Chamber Players / tape); Koszewski, Andrzej: Angelus Domini Krätzschmar, Wilfried: Explosionen und (85. Szczecin Technical University Choir / Cantus – II. Sinfonie (*83. Simon, m-sopr / Szyrocki), Ballata (73. Radiokören Stockholm Rundfunk-Sinfonieorchester Berlin / Rögner); / Ericson), Campana (83. Ars Antiqua / Krauze, Zygmunt: (**2003. Krauze, Jaśkiewicz), Fa-re-mi-do-si Music (**61. upright piano / NPO / Wit), Arabesque Polish Radio and TV Choir, Wrocław / (*85. Krauze, pf / Polish Chamber Orch. / Kajdasz), La espero (*65. NP Choir / Maksymiuk), Aus aller Welt stammende… Kuklewicz), Nicolao Copernico dedicatum (*73. Chamber Ensemble of NP / Teutsch), (92. Schola Cantorum Gedanensis / Automatophone (*76. amateur ensemble of Łukaszewski), Prologus (**76. Poznań Boys’ plucked and mechanical instruments / Choir / Kurczewski), Rondo, Notturno, Krauze), Ballade (91. Krauze, pf), Scherzo (79. Szczecin Technical University Commencement (*87. Chojnacka, cemb), Choir / Szyrocki), Sententia (86. Schola Diptychos (*81. Serafin, org), Esquisse, new Cantorum Gedanensis / Łukaszewski); version (**67. Krauze, pf), Fête galante et Kotchurov, Yuri: Two Songs (60. pastorale, new version (**75. Music Workshop Doloukhanova, m-sopr / Yerokhin, pf); / Polish Radio NSO / Warzecha), Five Unitary Kotik, Petr: Musica in memoriam Jan Rychlik Piano Pieces (91. Krauze, pf), Folk Music (**64. Musica viva Pragensis); (**72. Polish Radio NSO / Kord), From Kotoński, Włodzimierz: A battere (**66. Keyboard to Score (*91. Krauze, pf), Gloves Ensemble Prisma / Vetö), Aela (**70. tape), Music (91. Krauze, pf), Idyll 2 (**2015. Biskot, Aeolian Harp (*75. Trexler, sopr / Böttner, gtr Puchalska, Rzezińska, Wyrzykowska, voices / / Rutkowski, perc / Pałkowski, fl a becco / Borowiak, Gałązka, Pałkowski, Straszewski, Dyckhoff, electr org), Antiphones (90. tape), hurdy-gurdies, fiddles, bagpipes, Bieszczady Black Star (**2010. Les Percussions Mountains pipes, sheep bells), La chanson de Strasbourg), Bora (79. Polish Radio NSO / du mal-aimé (*91. Krauze, pf), La Terre Wisłocki), Canto (*62. Melos Ensemble / (*98. Ruzzafante, sopr / Krauze, pf / NPO / Kotoński), Chamber Music (**58. Silesian Michniewski), Letters (**2010. Górecka, Philh. Chamber Orch. / Markowski; 2007. Lisak, Mironiuk, Walentynowicz, 4 pf / NPO / Aukso / Moś), Concerto for Electric Guitar de Leeuw), Music Box Waltz (91. Krauze, pf), and Instrumental Ensemble (*95. Vos / Nightmare Tango (*91. Krauze, pf), Piano De Ereprijs / Boerman), Concerto for Violin Concerto (*77. Krauze / Polish Radio NSO / Zender), Piano Concerto No. 2 (*97. Krauze / Concerto for Tenor Saxophone and Computers Polish Radio Orch. / Michniewski), Piano (*88. Pennycook / Krupowicz), Europe, Concerto No. 3 – Fragments of Memory opera triptych The Land of Ulro, part 3, composers / compositions / performers / 1956–2019 (**2019, Krauze / Kordylasińska-Pękala, computer opera with libretto after W. Blake Pękala, Nowicki, Zemler, 4 veme / NPO / (**2004. M. Szostak, Chlebek, Białk, 3 sopr / Hermanto), Piano Quintet (94. Krauze, pf / Myrczek, Szerszeń, 2 basses / Chrostowska, Silesian String Quartet), Piece for Orchestra Mancewicz, Rozmuz, Stosz, actors / No. 1 (70. Polish Radio NSO / Kord; 2000. Krupowicz, Duchnowski, computers / Polish Radio NSO / Tamayo), Piece for Camerata Silesia / A. Szostak / Pielat- Orchestra No. 2 (*74. Orch. Philh. de la RTF / Rusinkiewicz, set and costume designer / le Roux), Piece for Orchestra No. 3 (*84. Sroka, dir), Farewell Variations on the Theme Wrocław PO / Pijarowski), Polychromie (68. by Mozart (**87. Wilanów String Quartet / Music Workshop), Quatuor pour la naissance tape; 2006. Silesian String Quartet / tape), (*86. Pokrzywiński, cl / Kuberska, vn / Fin de siècle (**94. Polish Radio NSO / Wit), Wróbel, vc / Krauze, pf), Rivière Souterraine 2 Machinae coelestes (Szostak-Krupowicz, (2014. Sinfonia Varsovia / Gazon / Błażejczyk, sopr / Camerata Silesia / Krupowicz, sound), Stone Music (91. Krauze, pf), Rupociński, komputers / Polish Radio Orch. String Quartet No. 1 (**65. Quartet of Music / Rivolta), Music for S (84. tape), Only Beatrice Workshop), String Quartet No. 2 (**79. (*89. Silesian String Quartet / tape), Partita Varsovia String Quartet), String Quartet No. 3 (**2002. Bauer, vc / computers), Smoking (2006. Dafô String Quartet), Suite de danses Room Blues (*91. Tonus Finalis), Thus Spake et de chansons (*78. Chojnacka, cemb / NPO Bosch (90. tape), Toplap Music for computers / Strugała), The Underground River, concert (**2009. Laptop Ensemble); version (*88. Pałkowski, cl / Borowiak, tbn / Krzanowska, Grażyna: Silver Line (91. Gałązka, vc / Skoczyński, perc / Budzyński, Concerto Avenna / Mysiński), String Quartet gtr / Jurek, acc / Siwiński, pf / tapes / Kulka, No. 2 (84. Silesian String Quartet); sound), Violin Concerto (*80. Kulka / NPO / Krzanowski, Andrzej: Alkagran (81. Warsaw Strugała), Voices (*93. Agon Ensemble / Accordion Quintet), Audycja I (2000. Lizer, fl / Kofroň), Yvonne, Princess of Burgundy, opera, Ferency, reciter / Youth Studio of the Society libr. by composer and G. Jarzyna after for Percussion Art / 2 tapes / Bywalec), W. Gombrowicz (**2006. Preis, actress / Audycja II (2000. Lizer, fl / Ferency, reciter / Barylak, sopr / Ledzion, m-sopr / Cortés, Youth Studio of the Society for Percussion Dąbrowska, 2 altos / Łykowski, counter-ten / Art / 2 tapes / Bywalec), Audycja III (**2000. Zdunikowski, Kur, 2 ten / Ruciński, bar / Szostak, sopr / Ferency, reciter / New Music Machej, bass / Polish Radio Orch. / Orch./ Youth Studio of the Society for Straszyński / Baczyńska, Dziedzic, costumes Percussion Art / slides / Bywalec), Audycja IV / Olko, sets / Poznański, lighting / Weiss- (2000. Andrysek, acc / Ferency, reciter / Grzesiński, staging and dir.); Youth Studio of the Society for Percussion Krauze, Zygmunt – George Harrison: Blue Jay Art / tape / Bywalec), Audycja V (** 2018. Way (**91. Krauze, pf); Freszel, sopr / Głubin, Stippa, actors / Krcha, Bartłomiej: L’homme armé (**2001. Urbański, mime, choreography / Hendrich, NPO / Salwarowski), Lyric of a Sleeping Man tape parts / Camerata Silesia / Szczecin (**2001. BBC Singers / Joly), The Garden of Castle opera Ballett / New Music Orch. / 286 \ Birds (2004. tape); Bywalec / Babińska, dir. / Klimka, stage Krebber, Steffen: Gelbspötter und Petrol. design, costumes / Oslislo, Zygalski, Stunts and Action (2019. European Workshop Strojecki, film, multimedia / Sadlik, light dir. K for Contemporary Music / Bohn); / Kunda, Czechowicz, sound), Canti Kreidler, Johannes: Beginninglessness (*2015. di Wratislavia (91. Silesian PO / Swoboda), multimedia performances and videos), Capriccio (2017. Frąckiewicz, acc), Concerto Der „Weg der Verzweiflung“ (Hegel) ist for Orchestra (**84. Wrocław PO / der chromatische (*2017. Spółdzielnia Pijarowski), Con vigore (93. Musica-Viva- Muzyczna Contemporary Ensemble / Ensemble / Wirrmann), Divertimento (2001. Rusowicz), London (*2017. video); Andrysek, acc), 3 Pieces for Oboe and Křenek, Ernst: Pentagram (*60. Het Danzi Trumpet (2000. Bywalec / Szymczyk), Relief II Kwintet), Spätlese, Op. 218 (*78. Ingham, bar (2019. Przybylski, org), Relief IX (*89. Silesian / Horn, pf), Streichquartett No. 6, Op. 78 (*78. String Quartet / tape), Reminiscenza (95. Assmann-Quartett), Tape and Double Op. 207 Silesian String Quartet), Salve Regina (93. (*2001. Škuta & Škutova, 2 pf / tape); Camerata Silesia / Szostak), String Quartet Krenz, Jan: Capriccio (**62. Polish Radio NSO No. 1, version B (80. Wilanów String / Krenz), Music for Clarinet Solo (**59. Roczek), Quartet), String Quartet No. 2 (87; 2006. Musica da camera per quartetto d’archi (87. Silesian String Quartet), Study I (**98. Silesian String Quartet), Sinfonietta per fiati Andrysek, acc / Polish Radio NSO / Wit), (*96. NPO / Krenz), Symphony No. 1 (59. Study III (2005. Noth, acc), Study IV (79. Orch. de la Suisse Romande / Ansermet), Kaszuba, Olczak, 2 acc), Symphony No. 1 Symphony No. 2 (93. Sinfonia Varsovia / (*2011. NPO / Vis), Symphony No. 2 Krenz), see also Szymanowski, Karol – for 13 string instruments (86. Polish Radio Jan Krenz; and TV Chamber Orch., Poznań / Duczmal; Kruk, Kamil: Air: Miniature no. 3 (**2014. 91. Sinfonia Varsovia / Penderecki); Cracow Music Academy Composition Krzanowski, Andrzej – Kazimierz Urbański: Students / Koczur), Parhelion (2014. Transpainting, audio-visual spectacle (**77. Lutosławski Orchestra Moderna / instrumental ensemble / Urbański, staging / Kozłowski); Krzanowski, musical dir.); Krunglevicius, Ignas: Interrogation Kubička, Vitažoslav: …And Even Stone Would (*2010. audiovisal installation); Cry (*89. tape); Krupowicz, Stanisław: A Certain Case of Kučera, Václav: Picture (*70. Leichner, pf / Generalized Canon at the Fourth and the Fifth Czechoslovak Radio SO / Nohejl); (**93. Termer, sopr / Musica-Viva-Ensemble Kulenty, Hanna: A Cradle Song (96. Duda, vn / / Wirrmann), A Lighter Shade of Grey Myhal, vc / Örmény, pf), Ad unum (*86. Silesian (2002. Pryn, vn / tape), Certain Cases of PO / Stryja), Drive Blues (*2001. Worms, pf), the Generalized Mixed Cadence (**95. E for E (**92. Chojnacka, cemb), Elfen performance), Christmas Oratorio (**97. (*2003. De Ereprijs / Boerman), Going Up 2 Szostak, sopr / Dawidek, ob / Golec, tr / (**95. De Ereprijs / Boerman), Harmonium Pilch, perc / Szary, sopr / Gawara, alto / (*2000. Luijmes, hrm), Quinto (**87. Esztényi, Kowalski, ten / Smołka, ten / Myrczek, bass Witkowski, 2 pf), Rainbow 3 (*2004. / Kuliński, bass / Camerata Silesia / Thürmchen Ensemble), Ride (88. Mark Münchener Kammerorchester / Poppen), Pekarsky Percussion Ensemble, Moscow), Sesto (98. Peter Jablonski, pf), Sinequan (Flowers we are – for Miyako) (2012. Forte B (**99. Mueller, vc / Radio Conquer, vn); Kamerorkest Hilversum / Eötvös), Stretto Kurylewicz, Andrzej: Impromptu avec Romarin (**98. Helasvuo, fl / Kriikku, cl / Karttunen, (**92. Chojnacka, cemb), String Quartet No. 1 composers / compositions / performers / 1956–2019 vc / Savijoki, gtr), Symphony No. 1 (**89. (*81. Wilanów String Quartet); Danish Radio SO, Copenhagen / Segerstam), Kurz, Siegfried: Musik für Blechbläser, Pauken Trigon (*92. Radio Kamerorkest Hilversum / und Streicher, Op. 35 (*71. Staatskapelle Metzmacher), Trumpet Concerto (2003. Dresden / Kurz); Blaauw / Sinfonia Varsovia / Rivolta), Violin Kutavičius, Bronius: 10th April, Saturday Concerto No. 1 (**94. Bąkowski / Polish (*2011. Zalesińska, sopr / Polish Radio NSO Radio NSO / Wit), Violin Concerto No. 2 / Valade), Clocks of the Past No. 1 (2002. (2009. Zambrzycki-Payne / Polish Radio Bober, gtr / Silesian Quartet), Debate with NSO / Kaspszyk), Twenty-Five (**2010. a Stranger (2007. R. and Z. Ibelhauptas, 2 pf / Polish Orch. Sinfonia Iuventus / Gulikers), tape), Die stille Stadt (**87. Armanowska, Van… for piano for four hands (*2014. sopr / Esztényi, pf), Dzukian Variations Samojło i Kopczyński); (*78. Lithuanian Chamber Orch. / tape / Kumra, Ravi: see Hiller, Lejaren A. – Ravi Domarkas), Epitaphium tempori pereunti Kumra; (*99. Polish Radio Choir, Kraków / Kraków Kunad, Rainer: Concerto per archi (*69. Dresden Philh. Choir / Polish Radio NSO / Vetö), PO / Masur), Konzert für Klavier und Orchester Erotics (**97. Yan, fl a becco / Muzyk, hrn / (*71. Kootz / Staatskapelle Dresden / Kurz), Eidrigevičius, performance), Northern Gates The Master and Margarita (87. Ensemble of (*94. Polish Radio Chamber Orch. ‘Amadeus’ the Grand Theatre, Warsaw / Grzesiński, / Duczmal), String Quartet No. 2 ‘Anno cum staging / Satanowski, musical dir.); tettigonia’ (91. Silesian String Quartet), Kunkel, Renata: Symphony (88. Silesian PO / Telegraphic (*2013. European Workshop for Stryja); Contemporary Music / Błaszczak, Okoń- Kunst, Jos: Insecten (*70. Amsterdam Makowska, Wolniewicz, sound / Bohn), Studenten Kamerorkest / Vriend); The Last Heathen Rites (*83. M. Kowalczyk, Kupczak, Sławomir: Anafora V (2006. Bauer, sopr / Girls’ Choir of the Polish Scouting vc / Guziołek-Tubelewicz, sound), bum Union / instrumental ensemble / Welanyk), (**2018. Kupczak, computer), I Don’t Know The Stone of the Sudovians (90. New Music (**2016. open-air performance; Błażejewski, Ensemble, / Nakas), Tree of the World performer / Students of the States Music (90. Kaunas State Choir / New Music School in Jelenia Góra), see also REACTABLE Ensemble, Vilnius / Moryto, org / Warsaw / PHONOS EK MECHANES project; Radio Philh. / Nowakowski); Kupkovič, Ladislav: Dialoghi (*63. Kotik, fl / Kuźnik, Norbert Mateusz: Anaphora Komorous, fg), Mäso križa (*66. Hudba (*77. Pierożek, tbn), Bomakir (**86. Duo dnéška / Kupkovič); Contemporain: Bok, b cl / Le Mair, mrb), Küpper, Leo: Aérosons (*84. Kieffer, m-sopr / Duo per organo e pianoforte (**81. Kuźnik / Küpper, voice computer synthesis), Amkéa Esztényi), Multiplicatio (**76. Kuźnik, org), (*84. Kieffer, m-sopr / Küpper, sound space Organochromy (73. Kuźnik, org), Von Q II organization), Kouros et Korê (*84. Inchauste, (**88. tape); phonatomes / Frison, logatomes / Küpper, Kwiatkowski, Ryszard: Polyphonic Music sound space organization); (**69. Silesian PO / Stryja); / 287 Kurtág, György: 4 Capriccios, Op. 9 (*72. Kwieciński, Andrzej: 14’48(3) (**2008. Zgas, Sziklay, sopr / Budapest Chamber Ensemble beatboxer / Kwartludium), Concerto. Re / Mihály; 2012. Komsi, sopr / Ensemble maggiore (2014. Isphording, cemb / Sinfonia K–L intercontemporain / Davin), Doloroso – for Varsovia / Gazon / Błażejczyk, sound), super the Garzulys (2012. Hae-Sun Kang, vn), [PIPE(s)] (**2017. Sarkissjan, vn / New Music 8 Duetti, Op. 4 (*63. Hevesi, vn / Szalay, cimb; Orch. / Bywalec); 86. Keller, vn / Fábián, cimb; 2012. Hae-Sun Kyburz, Hanspeter: Cells (*2001. United Berlin Kang, vn / Cerutti, cimb), Four Poems by / Hirsch); Anna Akhmatova (*2012. Komsi, sopr / Kyriakides, Yannis: affeCTIO (*2002. Harpaz, Ensemble intercontemporain / Davin), voice / Faulborn, cemb / tape), Co-Inc. (2007. Fragments to Poems by Attila József, Op. 20 Blaauw, tr / Hunt, dance / Grootendorst, (*86. Csengery, sopr), Games (selection) video / Kyriakides, electronics), Dog Song (*96. Kocsis, pf; 2018. Zakrzewska, Świgut, (Cerberus serenades Orpheus) (**2007. 2 pf), Hommage à J.S.B. (2012. version for Blaauw, tr), Paramyth (*2011. K. Lasoń, vn / oboe solo. Pateau; version for string trio. Żymła, cl / Sałajczyk, pf / Mamczarski, Conquer, vn / Simon, vla / Strauch, vc; version computer / Błażejczyk, sound), tetTIX for oboe, viola and cello. Pateau / Simon / (*2002. Harpaz, voice / tape); Strauch), Hommage à Mihály András – Laaban, Ilmar: Chien d’absolu (*98. text-sound 12 Microludes for string quartet, Op. 13 composition); (*2000. Arditti String Quartet), Hommage La Barbara, Joan: Conversations (*99. La à R. Sch., Op. 15d (*96. Szabó, cl / Apró, vla / Barbara, voice), Klee Alee (*81. La Barbara, Kollár, pf), In memoriam György Kroó (2012. sopr / tape), ShamanSong (*99. La Barbara, Strauch, vc), Jelek II (Signs II) (2012. Simon, voice and perc / tape); vla), Kafka-Fragmente (*93. Bryn-Julson, La Licata, Francesco: Les nuances du prisme sopr / Ghestem, vn), Messages of the Late (*94. Zephir Ensemble / La Licata); Miss R. V. Troussova (*92. Hardy, m-sopr / Lachenmann, Helmut: Accanto (*77. Brunner, Sinfonia Varsovia / Dufallo), Officium breve, cl / NDR Sinfonieorchester / Krenz), Air Op. 28 (*90. Auryn-Quartett), Quartetto (2015. Zelmer, perc / Polish Radio NSO / d’archi (*66. String Quartet of Music Liebreich / Błażejczyk, sound), Allegro Workshop; 91. Silesian String Quartet), … sostenuto (*99. Wäntig, cl / de Oliveira Pinto, quasi una fantasia… (*97. Kubica, pf / Polish vc / Ikeya, pf), Consolation II (*72. Schola Radio Orch. / Michniewski), Quintetto, Op. 2 Cantorum Stuttgart / Gottwald), Gran Torso (*72. Wind Quintet of Budapest Chamber (*89. Berner Streichquartett), Klangschatten Ensemble), S. K. Remembrance Noise, Op. 12 – mein Saitenspiel (*79. NPO / Wit), (*86. Csengery, sopr / Keller, vn), Scenes from Mouvement – vor der Erstarrung (*86. a Novel, Op. 29 (*86. Csengery, sopr / Keller, Ensemble Modern / Holliger; 2003. Polish- vn / Csontos, cb / Fábián, cimb), Seven German Youth Ensemble / Bohn), Notturno Songs, Op. 22 (*86. Csengery, sopr / Fábián, (*88. Taube, vc / Radio Kamerorkest cimb), Stele Op. 33 (*2006. NPO / Nagy), Hilversum / Zender), Pression (97. Pyzik, vc), Szálkák, Op. 6c (*75. Fábián, cimb), Un brin Salut für Caudwell (*81. Bruck, Ross, 2 gtr), de bruyère à Witold (**94. Fábián, cimb / Schreiben (*2007. SWR Sinfonieorchester Esztényi, pf), Virág az ember – Mijakónak Baden-Baden und Freiburg / R. Huber), Staub (*91. SWF Sinfonieorchester Baden- Lebič, Lojze: Invocation (*2003. D. Prešiček, Baden / Bamert), Tableau für Orchester (*98. sax / N. Prešiček, pf), Korant (*76. Slovene MDR Sinfonieorchester / Kalitzke), TemA PO, Ljubljana / Nanut), Novembrske pesmi composers / compositions / performers / 1956–2019 (*2006. Fabbriciani, fl / Pańko, m-sopr / (*85. Novšak-Houška, sopr / Ljubljana Radio Koziak, vc), Toccatina (*2002. Mellinger, vn); and TV SO / Nanut); Ladehoff, Morten: improvisation (2019. Lee, Beom-Suk: for Oboe and Piano Ladehoff, org); (**2005. Ensemble TIMF); Lajtha, Lászlo: String Quartet No. 7 Lee, Ray: Chorus (**2015. outdoor concert (*56. Tátrai Quartet); and installation); Lang, Bernhard: DW9 ‘puppe/tulpe’ (*2004. Lee, Tzyy-Sheng: AScend/DEscend (*2004. Wu, Zubel, voice / chamber ensemble / fl / Taipei PO / Segerstam); Borowicz), DW28 – Loops for Davis Leedy, Douglas: Canti for Bert Turetzky (*2018. Davis, cl b / NPO / Kaspszyk / (*77. B. Turetzky, cb / N. Turetzky, fl / Okoń-Makowska, Bereza, sound), DW29 – Hankiewicz, vla / Zalewski, gtr / Rutkowski, Loops for Paweł Szymański (*2018. Lauks, perc / Olędzki); Kołodziejski, Kubit, 2 acc); Leeuw, Ton de: Fauxbourdon (*93. Nieuw Lang, David: Cheating, Lying, Stealing Ensemble / Spanjaard), Haiku II (*71. Carroll, (*99. Bang On A Can), Sweet Air (*2004. sopr / Radio PO, Hilversum / Markowski), Kwartludium), The Anvil Chorus Mountains (*88. Sparnaay, b cl / tape), (*2002. Ondrůšek, perc); IV (*70. Amsterdam Studenten Láng, István: Constellations (78. Cracow Oboe Kamerorkest / Vriend; 78. Radio Kamerorkest Quartet), Monologue (**75. Tarjáni, hrn); Hilversum / Bour), String Quartet No. 2 Langer, Elena: In the Dark (*2005. Moscow (*67. Gaudeamus String Quartet), Contemporary Music Ensemble / Symphonies for Wind Instruments Vinogradov); (*68. XLII World Festival of the ISCM. NPO / Langgaard, Rued: Symphony No. 6 (*98. Markowski); Danish National Radio SO / Dausgaard); Lefebvre, Claude: Oregon (**84. Dorow, sopr / Lann, Vanessa: Dancing to an Orange brass ensemble / Méfano), Virage (**87. Drummer (95. De Ereprijs / Boerman); Groupe Vocal de France / Reibel); Lansky, Paul: Idle Chatter (*86. tape), Lentz, Georges: Monh from Mysterium (Caeli Notjustmoreidlechatter (2009. Miso Music enarrant… VII) (*2009. Power, vl / NPO / tape Portugal’s Loudspeaker Orch. / Azguime, / Wit); live electronics and sound projection), Legley, Victor: La Cathédrale d’Acier (*72. Smalltalk (*94. tape); Grand Orch. RTB, Brussels / Hoffman); Lanza, Mauro: The 1987 Max Headroom Lehn, Thomas: Ruptures (**2019. Lehn, synt); Broadcast Incident (*2017. Diotima Quartet / León, Tania: Axon (*2008. Shmidt, vn / Poletti, Isnard, Bascou, computer music Guziołek-Tubelewicz, computer), Toque design / Bourgogne, sound); (*2008. Profil Ensemble / Soare); Lanzalone, Silvia: Rhysmos (2000. computers Lepik, Tarmo: Three Impressions Fly30 and Mars); (*75. Tallinn Chamber Choir / Areng); Laporte, André: A Flemish Round Leroux, Philippe: Le cri de la pierre (**80. Music Workshop), Harry’s Wonderland (*2014. Keravec, bagpipe); (*76. Sparnaay, b cl / tape), Jubilus (*68. Levinas, Michaël: Deux pièces pour flûte alto 288 \ Wrocław PO / Markowski), Nachtmusik (*81. Bocquillon), Les lettres enlacées 1 (*71. Silesian PO / Taverna); (*2000. Neue Vocalsolisten Stuttgart); Laskowski, Mikołaj: Deep Relaxation Vol. 1 Lewis, George E.: North Star Boogaloo L (*2017. Łuc, acc / Anderson, vla / Bereza, (*96. Schick, perc / tape); sound), Oh, to Rub the Waxy Buddah (2018. Leyendecker, Ulrich: String Quartet Black Page Orchestra / Froschauer, sound); (*86. Wilanów String Quartet); Lasoń, Aleksander: A Little Book for Clarinet Liang, Ke-Siang: Lei Fung Pagoda (61. and Strings (**2001. Rosengren / Aukso / Ensemble of the Central Theatre of Opera Moś), Cathedral (90. Poznań SO, / and Ballet, Beijing / Orch. of the Grand Michniewski), Chamber Music No. 3 (85. Theatre, Warsaw / Wang Pin, staging / Ensemble InterContemporain / Tamayo), Li Che-Kun, musical dir.); Chamber Music No. 5 ‘The Four Seasons’ Lidholm, Ingvar: Canto LXXXI (*61. Polish (2002. New Music Orch. / Lasoń), Chamber Radio and TV Choir, Wrocław / Kajdasz), music No. 6 ‘Saxophonium’ (**2000. Vienna Motto (*61. Polish Radio and TV Choir, Saxophone Quartet / Kraków Percussion Wrocław / Kajdasz), Mutanza (*65. NPO / Group / Welanyk), Concerto festivo Rowicki); (96. Bąkowski, vn / Sinfonia Varsovia / Liebermann, Rolf: Chinesische Liebeslieder Michniewski), Relief for Andrzej (98. Silesian (*58. Rehfuss, bar / Nadgryzowski, pf); String Quartet), SATJA Symphony No. 4 Ligeti, György: Apparitions (*65. Orch. of (**2007. Sinfonia Varsovia / Lyndon-Gee), the City of Helsinki / Panula), Sonata for Solo Violin No. 1 (97. Macchia- (*58. tape), Atmosphères (*85. NPO / Krenz), Kadłubkiewicz), String Quartet No. 2 (**87. Aventures & Nouvelles Aventures (*76. Silesian String Quartet), String Quartet No. 3 Camerata Strumentale ‘Alfredo Casella’ / (*93. Silesian String Quartet), String Peyretti), Clocks and Clouds (*74. Polish Quartet No. 4 (2001. Akademos Quartet), Radio and TV SO and Choir, Cracow / String Quartet No. 6 (2006. Silesian String Taverna), Concerto for Cello and Orchestra Quartet), Symphony for Wind Instruments, (*70. Palm / NPO / Rowicki), Concerto Percussion and Two Pianos (80. Silesian PO / for Piano and Orchestra (*2018. Möller / Michniewski), Symphony No. 2 ‘Concertante’ European Workshop for Contemporary (86. Knapik, pf / Georgian SO, Tbilisi / Music / Bohn), Continuum (*72. Chojnacka, Kakhidze), The Mountains (**83. Polish cemb; 96. Tiensuu, cemb; 2007. Radio and TV SO, Cracow / Wit); Chojnacka, cemb), Double Concerto for Flute, Lavista, Mario: Lamento; Canto del Alba Oboe and Orchestra (*80. Turska / Pędziałek (*85. Arizpe, fl), Reflejos de la noche (*2008. / NPO / Stugała), Concerto for Piano and Wrocław Chamber Orch. ‘Leopoldinum’ / Orchestra (*88. A. di Bonaventura / Kovacic); Polish Radio and TV SO, Warsaw / Lazar, Milko: Obscure Songs for flute, M. di Bonaventura), Concerto for Violin saxophone and piano (**2003. Slavko and Orchestra (*91. Gawriloff / SWF Osterc Trio); Sinfonieorchester Baden-Baden / Bamert), Lazarof, Henri: Intonazione (*69. Ogdon, Drei Phantasien nach Friedrich Hölderlin Lucas, 2 pf); (*85. Chor des Süddeutschen Rundfunks / Lazkano, Ramon: Errobi – 1 (**2008. Caroli, fl Franz), Etudes for piano (Book I: *85. Nos 3 / Costanzo, pf); and 6; 88. Nos 1-6. Banfield; 2000. Nos 1-6. Aimard, Book II: 2000. Nos 7-14. Aimard, (*80. Dorow, sopr / Het Residentie Orkest / Book III: 2000. Nos 15-17. Aimard), Bour), The Bar-pianist (*2001. Worms, pf); Facsar (*93. Magnenat, vla), Hamburgishes Løffler, Simon: b (*2019. Ensemble Konzert (*2014. Chapman, cr / Musikfabrik / Kompopolex), H (*2019. composers / compositions / performers / 1956–2019 Asbury), Hungarian Rock (*78; 2007. Ensemble Kompopolex); Chojnacka, cemb), Kammerkonzert (*72. Logothetis, Anestis: Emanation (**74. Budapest Chamber Ensemble / Mihály), Sparnaay, b cl / tape), Odysseia (96. members Lontano (*71. Radio PO, Hilversum / of Prague Chamber Ballet / Agon Orch. / Markowski), Loop (*93. Magnenat, vla), Kofroň), Styx (*93. Agon Ensemble / Kofroň); (*73. Radiokören Stockholm / Lohner, Henning: The Revenge of the Dead Ericson; 85. Chor des Süddeutschen Indians: In Memoriam John Cage (2012. Rundfunks / Franz), Magány (*85. Chor composed film); des Süddeutschen Rundfunks / Franz), Lohse, Martin: Entity for violin and 4 delays Melodien (*74. Orch. Philh. de la RTF / (**2002. Pryn), Images balancantes (**2004. le Roux), Monument – Selbst-portrait – Oshiro, cl / Pryn, vn / Waage, vc / Olsson, pf); Bewegung (*79. Canino, Ballista, 2 pf), Lolea, Cristian: 2010 (**2010. Orkest for piano (2000. Aimard), De Ereprijs / Boerman); Mysteries of the Macabre (*2016. Freszel, Lombardi, Luca: E subito riprende il viaggio sopr / NPO / Kaspszyk), Pápainé (*85. Chor (*84. Collegium Vocale Köln), Schattenspiel des Süddeutschen Rundfunks / Franz), (*2003. Levine, bass fl); Passacaglia ungherese (2007. Chojnacka, Lopes e Silva, José António: Epigono I. cemb), (*75. Chamber Hommage à Luis de Milan (**81. Lopes Ensemble of NP / Teutsch; 85. Polish e Silva, gtr / tape); Chamber Orch. / Maksymiuk; 99. Sinfonia 21 López López, José Manuel: Le parfum / Brabbins), Requiem (*68. XLII World Festival de la lune (*2008. Mercier, vn / Plural of the ISCM. Poli, sopr / Malewicz-Madey, Ensemble / Panisello); m-sopr / NP Choir / Polish Radio and TV Lorentzen, Bent: Die Musik kommt mir Choir, Cracow / NPO / Markowski), San äusserst bekannt vor (*76. Opernstudio, Kiel / Francisco Polyphony (*75. NPO / Michniewski), tape / Kleiber, staging / Reinke, musical dir.), Scenes and Interludes from ‘Le Grand Paradiesvogel (84. instrumental ensemble / Macabre’ (*92. Walmsley-Clark, sopr / Lorentzen), Samba (**80. Music Workshop), Bickley, m-sopr / Pike, ten / Weller, bass / Saxophone Concerto for Winds and Percussion Cracow Philh. Choir / Polish Radio NSO / (*89. Pituch / Danish Radio SO, Copenhagen Howarth), String Quartet No. 1 ‘Métamorphoses / Segerstam), Syncretism (*71. Music nocturnes’ (*85. Arditti String Quartet; Workshop), Winds (97. Matysik, A. Grabowski, 90. Silesian String Quartet), String Quartet No. 2 M. Grabowski, A. Kierc, actors); (*85. Arditti String Quartet), Ten Pieces for Lorenzo, Leonardo de: Preludio del Silenzio; Wind Quintet (*70. Filharmonikernas Blaser, Sogno futuristico (*74. Ensemble 4’33’’); Stockholm), Trio ‘Hommage à Brahms’ Losonczy, Andor: Phonophobie 1975 (**75. (*85. Ligeti Trio), Volumina, excerpts (2019. Ensemble 20. Jahrhundert / Burwik); Przybylski, org); Loudova, Ivana: Lim, Liza: HELL (*2005. Kairos Quartett), (*88. Mikhashoff, pf); songs found in dream (*2007. Ensemble Lublin, Jarosław: Rum-Cum (2002. tape); Mosaic / Poppe), Wild Winged-One Lucier, Alvin: Diamonds (*2000. Janáček Philh. / 289 (*2007. Plante, tr); Orch., Ostrava / Orch. of the S.E.M. Ensemble, Lindberg, Magnus: Arena II (*98. Avanti! New York / Kotik, Nagy and Arming), Music Ensemble / Franck), Clarinet Quintet for Piano with Slow Sweep Pure Wave L (*96. Kriikku, cl / Silesian String Quartet), Oscillators (2019. Zakrzewska, pf / Jeux d’anches (*2002. Lenko, acc), Marea Czechowicz, Ptak, sound), Slices (*2015. (*94. Sinfonia Varsovia / Nowak), Related Zdunik / Polish Radio NSO / Liebreich); Rocks (*2001. J. Peäske, Gerretz, 2 pf / Lugansky, Nikolai: Landscapes (*77. Metsamart, perc / electronics), Steamboat Szwajgier, sopr / Godek, cl / Kochan, pf); Bill Jr. (**90. Toimii Ensemble); Lukáš, Zdenĕk: Parabolae Salomonis (85. Lindborg, Per Magnus: Nermal SonoSofisms Szczecin Technical University Choir / (*98. Oslo Sinfonietta / Eggen); Szyrocki); Lindgren, Pär: Oaijé (*2000. Polish Radio NSO Lundquist, Torbjörn: Teamwork (*70. / Tamayo); Filharmonikernas Blaser, Stockholm); Lindwall, Christer: Points (*86. tape); Lupone, Michelangelo: Canto di madre (2000. Linke, Robert: Kammermusik X (mov. III: computer), Forma del respiro (2000. tape); Der Tod des Hasen) (*93. Musica-Viva- Lutosławski, Witold: Chain 1 (84. Junge Ensemble / Wirrmann); Deutsche Philh. / Holliger; 88. Radio Lintermann, Bernd: see Belschner, Torsten Kamerorkest Hilversum / Zender), Chain 2 – Bernd Lintermann; (*86. Jakowicz, vn / NPO / Kord; 94. Mutter, List, Garret: Three Processes on Nine Sets vn / Sinfonia Varsovia / Krenz), Chain 3 (*87. from the Orchestral Etudes (*75. Center for BBC Scottish SO / Maksymiuk; 93. NPO / the Creative and Perfoming Arts / Williams); Lutosławski), Chantefleurs et Chantefables Litwiński, Mieczysław: SOMNIVM (**2009. (*91. Kringlebotn, sopr / Sinfonia Varsovia / Krasoczko, Litwiński, voices / Rasouli, ney / Lutosławski), Concerto for Cello and Hosseini, tar / Wei, sheng / Małecka, vl / Orchestra (*73. Schiff / NPO / Lutosławski; Lenczowski, vc / Dąbek, acc / Dowgiałło, hp 78. Jabłoński / NPO / Lutosławski; 97. Bauer / Glass Duo / Duo Hob-beats / Sudnik, / NPO / Krenz), Concerto for Orchestra sound / Kosałka, Waniek, stage design / (56. Wiener Symphoniker / Gielen), Double Szmitke, performer / Prochnowski, video Concerto for Oboe, Harp and Chamber projection / Wolińska); Orchestra (*80. H. Holliger / U. Holliger / Lloyd, Jonathan: Kyrie from Missa brevis Polish Chamber Orch. / Lutosławski), (*91. BBC Singers / Joly); Epitaph (*80. Holliger, ob / Esztényi, pf; Locklair, Dan: Cluster’s Last Stand (on 94. Mleczko, ob / Esztényi, pf), Five Songs the ground) (*96. Tiensuu, cemb); to Words by K. Iłłakowiczówna (60. Szostek- Loevendie, Theo: A. Dramé (*2001. O’Bryan, Radkowa, m-sopr / Polish Radio and TV djembé / Nieuw Ensemble / Hempel), Bons Chamber Orch., Katowice / Krenz), Funeral (*2001. Hijmans, gtr / Loevendie, sax / Music (58. Polish Radio NSO / Krenz; 64. Nieuw Ensemble / Hempel), Drones (*91. NPO / Wisłocki; 84. Polish Chamber Orch. / Beths, vn / de Leeuw, pf), Incantations Maksymiuk; 94. Sinfonia Varsovia / Krenz), (*78. Sparnaay, b cl / Radio Kamerorkest Fanfare for Los Angeles Philharmonic (2017. Hilversum / Bour), Scan (**2003. Hijmans, NPO / Kaspszyk), Grave (81. Jabłoński, vc / electr gtr), Six Turkish Folk Poems Esztényi, pf; 88. Bauer, vc / Knapik, pf; 94. version for cello and string orchestra. Braises (*95. Chojnacka, cemb / Polish Imiełowska, vc / Sinfonietta Cracovia / Radio NSO / Wit), Danaé (*2004. Michniewski), Interludium (*91. Sinfonia Musicatreize / Hayrabedian), Guntur Madu composers / compositions / performers / 1956–2019 Varsovia / Lutosławski; 94. Sinfonia Varsovia (*92. Chojnacka, cemb), Heol Dall (*2004. / Krenz), Jeux vénitiens (**61. new version. Musicatreize / Hayrabedian), Korwar (*72. NPO / Rowicki; 76. Slovene PO, Ljubljana / Chojnacka, cemb / tape), La Peau du Silence Michniewski; 95. Sinfonia Varsovia / (**68. NPO / Rowicki), Le son d’une voix (*64. Spanjaard; *2001. NPO / Salwarowski; Ensemble Instr. de Musique Contemporaine 2007. Polish-German Youth Ensemble / / Simonovitch), Lethe for two pianos, eight Bohn), Les espaces du sommeil (*79. Shirley- hands (**85. Dutkiewicz and Esztényi / Quirk, bar / Polish Radio NSO / Wisłocki; Knapik and Meyer), Maraé (*85. Warsaw 93. Le Roux, bar / NPO / Lutosławski), Percussion Group), Naluan (*75. Ensemble Little Suite (56. G. Enescu PO / Georgescu), 20. Jahrhundert / tape / Burwik), Nuit Blanche Livre pour orchestre (*69.; 85. NPO / Krenz), (97. Kołbasiuk, voice / tape), Octuor, Op. 35 Miniouverture (*99. New Music Orch. / (*78. Radio Kamerorkest Hilversum / Bour), Lasoń), Mi-parti (*77. Polish Radio NSO / Phénix (*89. Gualda, perc), Planh (**94. Lutosławski), Novelette (*81. Polish Radio Sinfonietta Cracovia / Michniewski), Prélude NSO / Kaspszyk; 84. Junge Deutsche Philh. / (*59. tape), Solstice (*86. Chojnacka, cemb / Holliger), Paroles tissées (75. Pears, ten / tape), Styx for two pianos, eight hands Chamber Ensemble of NP / Lutosławski), (*85. Dutkiewicz and Esztényi / Knapik Partita (88. Kulka, vn / Knapik, pf; *91. and Meyer), Temes Nevinbür (*85. Esztényi, version for violin and orchestra. Jakowicz, Witkowski, 2 pf / Warsaw Percussion Group / vn / Borucińska, pf / Sinfonia Varsovia / tape), Terre de Feu (*66. tape); Lutosławski; 94. Mutter, vn / Borucińska, pf Machover, Tod: Flora (*92. tape), Soft Morning, / Sinfonia Varsovia / Krenz), Piano Concerto City (*80. Szwajgier, sopr / Pyzik, cb / tape); (*88. Zimerman / NPO / Lutosławski; Macías, Enrique X.: Itinerário de luz (2008. 2013. Zimerman / NPO / Kaspszyk), Piano Sond’ar-te Electric Ensemble / Amaral / Sonata (2004. Pobłocka, pf), Postlude 1 Azguime, sound); (64. Polish Radio NSO / Krenz), Preludes and Maciejasz-Kamińska, Anna: Altitude 1 Fugue (*73. Chamber Ensemble of NP / (2002. tape); Lutosławski; 94. Sinfonia Varsovia / Krenz), Maciejewski, Roman: Requiem (**60. Sacher Variation (79. Monighetti, vc), Slides Łukomska, sopr / Szostek-Radkowa, (*89. London Sinfonietta / Masson), String m-sopr / Pustelak, ten / Pawlak, bass / Overture (91. Polish Radio Chamber Orch. Polish Radio and TV SO and Choir, Cracow / ‘Amadeus’ / Duczmal; 2004. Taipei PO / Maciejewski); Segerstam), String Quartet (*65. LaSalle MacMillan, James: The Confession of Isobel Quartet; 88. Wilanów String Quartet; 2006. Gowdie (*95. Sinfonia Varsovia / Maksymiuk); Silesian String Quartet), Symphony No. 1 Maderna, Bruno: Aura (*76. Slovene PO, (72.; 93. NPO / Lutosławski; 2004. Polish Ljubljana / Michniewski), Cadenza da Radio NSO / Chmura), Symphony No. 2 Dimensioni III (*2003. Levine, fl), Concerto No. 2 (67. NPO / Lutosławski; 2004. Polish Radio per oboe e orchestra (*68. Faber / NPO / NSO / Kaspszyk), Symphony No. 3 (84. NPO / Rowicki), Concerto No. 3 per oboe e orchestra di Bonaventura; 88. NPO / Lutosławski; (*76. Faber / NPO / Rowicki), Concerto per 290 \ 2004. Polish Radio NSO / Chmura; 2013. oboe e orchestra (*63. Faber / Cracow PO / NPO / Kaspszyk), Symphony No. 4 (93. NPO / Markowski), Continuo (*58. tape), Dimensioni Lutosławski; 98. Swedish Radio SO / Swensen; II/Invenzione su una voce (*61. Berberian, L–M 2004. Polish Radio NSO / Kaspszyk), Trois m-sopr / tape; 2003. tape), Notturno II poèmes d’Henri Michaux (*63. Polish Radio (2003. tape), Serenata III (*63. tape), Serenata and TV Choir, Cracow / Polish Radio NSO / per un satellite (*86. Ex Novo Ensemble Lutosławski and Krenz; 87. NP Choir / di Venezia), Widmung (2002. Pryn, vn); Polish Radio NSO / Wojnarowski and Wit; Madey, Bogusław: Transfigurations (**65. 96. Camerata Silesia / Polish Radio NSO / Malewicz-Madey, m-sopr / Instrumental Szostak and Wit), Two Studies (95. Harvey, Ensemble of the Grand Theatre, Warsaw / pf), Variations on Paganini (59. Baster, Dolny, Madey); 2 pf; 81. E. and B. Aran, 2 pf); Maiguashca, Messias: A Mouth Piece (*74. Ładyżyński, Sebastian: trajectory 0.1a Collegium Vocale Köln), La celda, music (**2009. tape); theater on the basis of the short story Łuciuk, Juliusz: (68. El milagro secreto by J. L. Borges and mini- Ballet Ensemble and Orch. of Baltic Opera / opera Die Fende by M. Maiguashca (*2008. Jarzynówna-Sobczak and Kamiński, Kalita, actor / Waliczky, video sequences / choreography / Katlewicz, musical dir.), Maiguashca, audio-video / Kędzierski, dir.), Flowery Dream (*61. Stachurska, sopr / The Wings of Perception II (*2000. ZKM Chamber Ensemble of Silesian Philh. / Karlsruhe), …y ahora vamos por aqui…, new Stryja), Francis of Assisi (83. Młynarska, sopr version (*81. Ensemble de l’Itinéraire / / Myrlak, ten / Niemierowicz, bar / Silesian Mercier); Philh. Choir / Polish Radio NSO / Wisłocki), Majkusiak, Mikołaj: see Forging the Scythes; Marathon (64. fragment. Łuciuk, pf), Portraits Malawski, Artur: Five Piano Miniatures lyriques (76. Woytowicz, sopr / Rezler, Słubicka, (63. performed as ballet. Woroniecka, pf / 2 vn / Andrzejczak, vc / Paderewski, pf); Miniature Ballet of the Baltic Opera / Łuciuk, Paulina: Air: Miniature no. 1 (**2014. Jarzynówna-Sobczak, choreography), Cracow Music Academy Composition Hungaria (58. NPO / Skrowaczewski), Overture Students / Koczur); (59. NPO / Wisłocki; 63. Polish Radio NSO / Łukaszewski, Paweł: String Quartet No. 2 Krenz), Symphonic Etudes (62. Smendzianka, (2004. Dafô String Quartet); pf / NPO / Wisłocki), Symphonic Variations (56. Macchi, Egisto: Composizione III (*61. Cracow State PO, Brno / Bakala), Symphony No. 2 Philh. Chamber Orch. / Markowski); (56. NPO / Rowicki), Toccata (60. Czech PO / Macchia, Salvatore: Where Light in Darkness Ančerl), Toccata with Fugue in the Form of Lies (*97. Macchia-Kadłubkiewicz, vn); Variations (64. Kędra, pf / NPO / Wisłocki); MacCombie, Bruce: Chelsea Tango (*92. Malec, Ivo: Aquathème (*69. Ballet-Théâtre Sinfonia Varsovia / Dufallo), Three Desings Contemporain, Amiens / Adret, choreography for Three Players (*77. Pałkowski, cl / / music from tape), Cantate pour elle (*67. Gałązka, vc / MacCombie, pf); Herzog, sopr / Pierre, hp / tape), Sigma Macek, Peter: Small Leaps (*95. Harvey, pf); (*65. Poznań PO / Krzemieński); Mâche, François Bernard: Aera (2010. Malicki, Jacek: see Group of Intuitive Music; Les Percussions de Strasbourg), Anaphores Malipiero, Gian Francesco: Sinfonia No. 9 (*84. Chojnacka, cemb / Gualda, perc), (*66. Orch. RAI Torino / Rossi); Malouf, Frederic L.: Bali Jam (*91. Tonus Marshall, Ingram: Fog Tropes (*89. Brass Finalis); Ensemble of NP / tape / Szreder); Malovec, Jozef: Cryptogram I (*66. Hudba Márta, István: A Doll’s House Story (*89. dnéška), Elegiac Concerto (*89. Luptačik, cl / Amadinda Percussion Group), Doom. A Sigh composers / compositions / performers / 1956–2019 tape); (*92. Kronos Quartet); Małecki, Maciej: Song and Ostinato (91. Polish Marti, Cécile: Seeing Time 1 (**2019. Basel Piano Quartet); Sinfonietta / Brönnimann); Małek, Ernest: Inspirations (83. Ny Musikks Marti, Joan Saura: Juan’s piece (*98. Ensemble); European Improvisation Orch.), see also 8Mamangakis, Nikos: Anarchia (*78. Klapper, Martin – Joan Saura Marti – members of Malmö Percussion Ensemble / Raymond Strid; NPO / Strugała); Martin, Frank: Concerto pour sept instruments Mamczarski, Jarosław: Amie: 5=4 for six à vent, timbales, batterie et orchestre à cordes instruments and video projection (**2003. (62. Silesian PO / Stryja), Die Weise von Liebe Musikfabrik); und Tod des Christoph Rilke (*93. Mamiya, Michio: Enburi (*60. Orch. NHK / Iwaki); Balleys, alto / Sinfonia Varsovia / Krenz), Man, Roderik de: Chordis Canam (*2006. Etudes pour orchestre à cordes (*66. Orch. van Raat, pf / tape), Samen Sterk (Together de Chambre de Lausanne / Desarzens; We’re Strong) (**2003. Górczyński, b cl / 91. Camerata Bern), Konzert für Violine De Ereprijs / Megens), Strange echoes for und Orchester (59. Schneeberger / Orch. trunks and pipes (*2011. Pielczyk, org / de la Suisse Romande / Ansermet), Błażejczyk, sound), Vanishing Points Sechs Monologe aus Jedermann (*58. (*2001. Malanowicz, org / tape), Wait Rehfuss, bar / NPO / Skrowaczewski); a minute! (2015. tape); Martinaitis, Algirdas: Unfinished Symphony Mandolini, Ricardo: Andromeda (*85. (*99. NPO / Michniewski); Skoczyński, perc / tape), Ceremonia secreta Martinet, Jean-Louis: Trois textes (**87. Walawender, gtr / tape), Circulos du XVIe siècle (*60. Poznań Philh. Choir / fosforescentes en fondo negro (*83. tape), Stuligrosz), Variations pour quatuor à cordes Vox veterrima (**90. Skoczyńska and (*56. Quatuor Parrenin); Skoczyński, perc / tape); Martinez, Odaline de la: Cantos de amor Manen, Willem van: Mikroskoop (*87. Manning, sopr / Lontano / (*90. Orkest de Volharding / van Zeeland); de la Martinez); Mannik, Aarne: Autumn Bells (*75. Tallinn Martínez-Izquierdo, Ernest: Norte-Sur (*2008. Chamber Choir / Areng); Barcelona 216 / Martínez-Izquierdo); Manoury, Philippe: En écho (*2009. Zubel, Martinon, Jean: Quatuor à cordes, Op. 43 sopr / Bień, Manoury, sound), Le Livre (*56. Quatuor Parrenin); des claviers (2010. Les Percussions Martinů, Bohuslav: Concertino (71. Radvilajte, de Strasbourg), Zones de turbulences pf / Digrys, vn / Narunajte, vc / Lithuanian (*2015. Chai / Kośmieja / Polish Radio NSO / Chamber Orch. / Sondeckis), Quatre Liebreich); madrigaux (*59. Warsaw Woodwind Trio), Mansurian, Tigran: Airens (*74. Antonian, Serenada (62. Prague Chamber Orch.), sopr / Armenian Chamber Orch. / Saakianc); Serenada No. 2 (75. Chamber Ensemble of NP Mantovani, Bruno: Cantata No. 4 (*2013. / Teutsch), Sonatina for Two Violins and Piano TWOgether Duo / Camerata Silesia / Rivolta), (56. Dubiska and Umińska / Nadgryzowski), / 291 Entrechoc (*2019. NPO / Hermanto), Si près, String Quartet No. 5 (*61. Novák String si loin (d’une fantaisie) (*2010. Galon-Frant, Quartet), Symphony No. 3 (*56. Brno PO / Sałajczyk, 2 pf / Aukso / Moś); Bakala), Symphony No. 6 (*60. Czech PO / M Manzoni, Giacomo: Ombre – alla memoria Ančerl); di Che Guevara (*75. NPO and Choir / Martirano, Salvatore: Underworld Markowski); (*66. University of Illinois Contemporary Maraire, Dumisani: Mai Nozipo (*92. Kronos Chamber Players / McKenzie); Quartet); Martland, Steve: Crossing the Border (*99. Marbe, Myriam: Ritual for the Thirst of Sinfonia 21 / Brabbins), Shoulder to Shoulder the Earth (*78. Madrigal Choir / Malmö (*90. Orkest de Volharding / van Zeeland); Percussion Ensemble / Constantin); Martynov, Vladimir: For it would be better if Marco, Tomás: Akelarre (*76. Sparnaay, b cl / the Liturgy were musically performed tape), Albayalde (*74. Behrend, gtr), (*2005. Seattle Chamber Players); Anabásis (*72. Grand Orch. RTB, Brussels / Mařatka, Kryštof: Zverohra (2008. Vassilieva, R. Czajkowski), Escoriál (*77. Polish Radio sopr / NPO / Rophé); NSO / Zender), Fandango (**80. Music Mason, Benedict: Oil or Petrol Marks on a Wet Workshop), Herbania (*78. Chojnacka, cemb); Road (*91. BBC Singers / Joly); Marek, Martin: Cosciette di Roncole alla Luigi Masson, Gerard: Dans le Deuil des Vagues I Galvani (*2004. Kwartludium / soundtrack); (*74.Orch. Philh. de la RTF / le Roux), Ouest I Maresz, Yan: Eclipse (*2007. Halevi, cl / Israel (*69. Grupo Alea / Gil); Contemporary Players / Nagy); Matalon, Martin: Las siete vidas de un gato Marić, Ljubica: Ostinato super tema oktoiha (2008. Barcelona 216 / Martínez-Izquierdo), (**63. Ansambl ‘Slavko Osterc’ / Petrić); Trame II (*2000. Chojnacka, cemb / Bonnay, Mariétan, Pierre: Initiative I (*70. Music bandoneon / Michalski, cl / Żwirdowski, tbn / Workshop); Mertian, perc / Bartmann, vla / Bogacki, cb / Marinetti, Filippo Tommaso: I Silenzi parlano Matalon); fra di loro (*74. Ensemble 4’33’’); Mather, Bruce: Hommage à Carrillo (*2001. Marinoni, Marco: To Walk the Night (*2004. Joste, microtonal pf), Madrigal IV (*78. Lyric Kwartludium / tape); Arts Trio); Márkos, Albert: Solo (*98. European Matoušek, Lukaš: Colours and Thoughts Improvisation Orch.), see also 1) Björkenheim, (*79. Ars Cameralis Prague); Raoul – Birgit Ulherr – Albert Márkos – Matre, Ørjan: see Ratkje, Maja Solveig Christer Irgens-Møller, 2) Hodgkinson, Tim Kjelstrup – Ørjan Matre – Eivind Buene – – Birgit Ulherr – Albert Márkos; Christian Eggen – POING; Maros, Rudolf: Euphonie I (*64. Silesian PO / Matsudaira, Akira: Gaka (**78. Woytowicz, Stryja), Euphonie III (*68. Wrocław PO / sopr / Polish Chamber Orch. / Maksymiuk), Markowski), Lamento (*72. Sziklay, m-sopr / String Quartet (*76. Wilanów String Quartet), Budapest Chamber Ensemble / Mihály), String Quartet No. 2 (*83. Wilanów String Ricercare (*59. Hungarian Radio and TV SO / Quartet); Lehel); Matsudaira, Yoritsune: Figures sonores Marsh, Roger: Not a soul but ourselves (*62. NPO / Rowicki), Piece for Flute Solo (*80. Electric Phoenix); (*61. Gazzelloni); Matsushita, Isao: Drum Concerto ‘Hi-Ten-Yu’ Eclairs sur l’Au-Delà (*93. Polish Radio NSO / (*2005. Hudacsek, wadaiko / Slovak Radio Wit), Et exspecto resurrectionem mortuorum SO / Nagy); (71. Radio PO, Hilversum / Hupperts; 84. composers / compositions / performers / 1956–2019 Matsushita, Shin-Ishi: Correlazioni per tre Junge Deutsche Philh. / Holliger; 97. NPO / gruppi (*64. Silesian PO / Stryja); Krenz), Île de Feu I & II (94. Harvey, pf), Mattter (2019. screening of a film; Urbański, (76. Manning, sopr / Shelley, pf), dir. / Markowski, music); La Colombe (94. Harvey, pf), La Nativité du Matthus, Siegfried: Es wird ein grosser Stern Seigneur (74. No. 9. Chorosiński, org), in meinen Schoss fallen (*69. Bruel, sopr / L’Ascension (71. NPO / Markowski; 86. Dresdner PO / Masur), Klavierkonzert (*72. Philh. Staatsorchester, Hamburg / Zender), Schmidt / Rundfunk-Sinfonieorchester, La Transfiguration de notre Seigneur Jésus- Leipzig / Kegel); Christ (*78. Artysz, bar / Polish Radio and TV Matuszczak, Bernadetta: Canticum per voci Choir, Cracow / Polish Radio NSO / Wisłocki), ed orchestra (**81. Kowalczyk, alto / La Ville d’En-Haut (*92. Godziszewski, pf / NPO Mechliński, bar / Silesian PO and Choir / / Nowak), (*59. Gazzelloni, fl / Stryja), Canti della vita e della morte Mercenier, pf), Les Offrandes oubliées (*56. (**90. Biegun, bar / Wróbel, vc / Halat, NPO / Wodiczko; 85. NPO / Krenz), Livre Skoczyńska, perc), Chamber Drama d’Orgue (74. Nos: 1, 2, 3, 4, 6, 7. Chorosiński; (67. Lutosławska, recitation / Artysz, bar / 75. No. 6. Zacher), Livre du Saint Sacrement Instrumental Ensemble of NP / tape / (89. Bate, org), Meditations sur la Mystère Dobrzyński), Salmi per un gruppo di cinque de la Sainte Trinité, part VII (75. Zacher, org), (**73. Artysz, bar / Zapasiewicz, recitation / Méditations sur le Mystère de la Sainte Trinité Baranowska, hp / Kalarus, cb / (2008. Ericsson, org), (*60. Bruszewska, perc); Pinter, pf / Polish Radio NSO / Krenz; 97. Matuszewski, Filip: ZuM (**2009. European Vasillakis, pf / Ensemble InterContemporain Workshop for Contemporary Music / Bohn); / Spano), O Sacrum Convivium! (*72. Schola Maw, Nicolas: I will gather up my skirt (No. 2 Cantorum Stuttgart / Gottwald; 93. Camerata from Six Chinese Songs) (*60. Nendick, sopr Silesia / Szostak), Quatuor pour la Fin du / Bennett, pf); Temps (78. Musica Nova, Bucharest), Réveil Mayuzumi, Toshiro: Bunraku (*79. Monighetti, des oiseaux (*67. Ivaldi, pf / Orch. Philh. vc), Mandala (*60. Orch. NHK / Iwaki), Prélude de la RTF / Markowski), Saint François (*66. String Quartet of Music Workshop); d’Assise. Scénes Franciscaines (scenes:­ 3, Mazur, Justyna: see Kiwer, Wojciech – 7, 8) (*89. Orán, sopr / Rouillon, bar / Reece, Justyna Mazur ten / Duminy, bar / Dumé, ten / Dumont, bass Mazurek, Bohdan: Ballad (76. tape), Episodes / Loriod, Hartmann-Claverie and Kim, ondes (73. tape), Epitaph (**69. tape); Martenot / NP Choir / Polish Radio NSO / Wit), Mažulis, Rytis: Clavier of Pure Reason Trois petites liturgies de la Présence divine (71. (*2010. from playback), Quartertone Canon de Lavilleon-Verdier, pf / Sibon-Simonovitch, (**2010. Bugallo-Williams Piano Duo), ondes Martenot / NPO and Choir / Markowski), Monad (*2010. from playback); Vingt Regards sur l’Enfant-Jésus (*69. Ogdon, McLachlan, Grant: Umbhiyozo Waze Africa pf; 93. No. 12. Krzanowska, pf), Visions (Africa celebrates) (*2007. Chojnacka, cemb / de l’Amen (*81. E. and B. Aran, 2 pf); Miroglio, African perc); Mestres Quadreny, Josep M.: Conversa 292 \ McNabb, Michael: Dreams I (*84. tape), (*69. Grupo Alea / Gil); Invisible Cities, fragments (*87. Witkowski, Meyer, Ernst Hermann: Symphonie für pf / Pituch, sax / McNabb, synth / tape), Streicher (*63. Dresdner PO / Bongartz); M Love in the Asylum (*83. tape); Meyer, Krzysztof: Carillon (*93. Polish Radio Meale, Richard: Interiors / Exteriors (*76. NSO / Wit), Cello Concerto No. 2 (98. Woodward, Curry, 2 pf / Rutkowski, Iwicki, Pergamenschikow / Polish Radio NSO / Wit), Skoczyński, perc / Bernas); Clarinet Concerto (*2002. Brunner / NPO / Medek, Ivo – see: Dvořáková, Markéta Wit), Clarinet Quintet (89. Brunner / Wilanów Medek, Tilo: Stadtpfeifer (**73. Music String Quartet), Farewell Music (2003. NPO / Workshop); Wit), Fireballs (80. Silesian PO / Stryja), Méfano, Paul: Incidences (*67. J. Méfano, pf / Hommage à (*71. Warsaw Orch. Philh. de la RTF / Bruck); Harp Trio), Musica incrostata (91. Pomeranian Melikov, Arif: Legend About Love (*62. Ballet PO / Zilm), Piano Quintet (*92. Meyer, pf / Ensemble of S. M. Kirov Academic Theatre, Wilanów String Quartet), Polish Chants Leningrad / Orch. of the Grand Theatre, (77. Woytowicz, sopr / Polish Radio NSO / Warsaw / Grigorovich, choreography / Maksymiuk), Quartet No. 2 (**69. Quartetto Gamaley, musical dir.); della Società Cameristica Italiana), Mellnäs, Arne: Transparence (*78. NPO / Quartettino (67. Malewicz-Madey, m-sopr / Strugała); MB-Zagreb Group / Gjadrov), Sonata for Cello Mence, Selga: Songs (*2001. Škuta & Škutova, and Piano (87. Monighetti / Meyer), String 2 pf); Quartet No. 1 (**65. String Quartet of Music Mencherini, Fernando: Un giardino a mente Workshop; 2005. Kairos Quartett), String vuota (*2002. Bova, hp / tape); Quartet No. 3 (**73. Wilanów String Quartet), Mendes, Gilberto: Santos Football Music (**73. String Quartet No. 4 (*76. Wilanów String Polish Radio NSO / tape / de Carvalho); Quartet), String Quartet No. 5 (78. Wilanów Mendoza, Elena: Díptico (*2013. Ensemble String Quartet), String Quartet No. 6 Phoenix Basel / Henneberger); (83. Wilanów String Quartet), String Mengelberg, Misha: Some Rules in the Zoo Quartet No. 7 (85. Wilanów String Quartet), (*2001. Loos Ensemble); String Quartet No. 8 (*86. Wilanów String Meriläinen, Usko: Unes (**90. Toimii Quartet), String Quartet No. 10 (95. Wilanów Ensemble), Zimbal (*96. Tiensuu, cemb); String Quartet), String Quartet No. 12 (2006. Merzbow: see Akita, Masami; Dafô String Quartet), Symphony No. 3 – Messiaen, Olivier: Apparition de l’Eglise Symphonie d’Orphée (**72. NPO and Choir / éternelle (74. Chorosiński, org), Cantéyodjayâ di Bonaventura), Symphony No. 4 (*75. Polish (94. Harvey, pf), (*65. Polish Radio NSO / Maksymiuk), Symphony No. 5 Radio NSO / Bour; 88. Slovak PO, Bratislava (**79. Polish Chamber Orch. / Maksymiuk), / Režucha), Cinq Rechants (*63. NP Choir / Symphony No. 6 ‘Polish’ (84. Polish Radio Kuklewicz; 87. Groupe Vocal de France / NSO / Wit), see also Shostakovich, Dmitri Reibel), Combat de la Mort et de la Vie (60. – ; Thenior-Janecka, org), Couleurs de la Cité Meyerovich, Mikhail: Trio for Flute, Violin and céleste (*71. de Lavilleon-Verdier, pf / NPO / Viola (*63. Chudyba / Iwanow / Kamasa); Markowski), Diptique; Le Banquet céleste (60. Miaskovsky, Nikolai: Sinfonietta (81. Moscow Thenior-Janecka, org; 74. Chorosiński, org), Conservatory Chamber Orch. / Terian), Songs: A Boy Calls in Ringing Voice; A Song et cor de montagne (*78. Madrigal Choir / Cures Suffering Soul; I’ll Rise in Foggy Morning; Constantin), Meditation (*83. Madrigal Choir Shining Over the Mea­dow; Sometimes When; / Constantin), Sources roumaines (*83. The Full-Moon Was; You’ve Got the Charm Madrigal Choir / Constantin); composers / compositions / performers / 1956–2019 of Beauty (60. Doloukhanova, m-sopr / Molinari, Ernesto – Theo Nabicht: 29,4 ; 174,61 Yerokhin, pf), String Quartet No. 13, Op. 86 (*82014. Molinari, cb cl / Nabicht, cb cl); (*59. Beethoven Quartet), Symphony No. 27 Momi, Marco: Ludica II (*2010. Ensemble (*56. State Orch. of the USSR / Ivanov); Nikel / Krause, sound); Michalak, Wiesław: see Robakowski, Zbigniew Monahan, Gordon: A Piano Listening To Itself – cooperation: Wiesław Michalak, Paweł – Chopin Chord (**2010. sound installation), Janicki; Speaker Swinging (94. performance); Michniewski, Wojciech: Szeptet (74. A. Montague, Stephen: Ambush (*74. Fulkerson, Milczarek, E. Milczarek, Olkisz, Podleś, tbn / Montague, pf and folk fl), Haiku Sienkiewicz and Urbańska, female voices / (*89. Montague, pf / tape), Phrygian Tucket Siwicki, body builder), see also Group KEW; (97. Chojnacka, cemb), String Quartet No. 1: Miereanu, Costin: Le jardin des secrets (*81. in memoriam Barry Anderson & Tomasz Ensemble de l’Itinéraire / Mercier), Limping Sikorski (*95. Wilanów String Quartet / tape / Rock (**89. Chojnacka, cemb); Montague, live electronics), Tigida Pipa (*91. Mihály, András: Tre movimenti (*72. Budapest Singcircle / tape / Rose), Varshavian Spring Chamber Ensemble / Mihály); (**80. Silesian PO and Choir / Michniewski); Mihelčič, Pavel: Prizori iz Bele Krajine (*85. Moran, Robert: L’Après-midi du Dracoula (*75. Ljubljana Radio and TV SO / Salwarowski); Center of the Creative and Performing Arts / Milhaud, Darius: Concertino de printemps Williams), The Adolfus Slink (**80. Music (*56. Wroński, vn / Silesian PO / Stryja), Workshop); La Cheminée du Roi René (*58. Quintette Morciano, Lara: Alis (*2003. Algoritmo à Vent de Toulouse), La Création du Monde Ensemble / Angius); (60. Polish Radio NSO / Krenz), L’homme Morrow, Charlie: The Train to the Plane et son désir (67. NPO and Choir / Rowicki), (*80. Music Workshop); XIIIe Quatuor à cordes (*60. Quatuor Parrenin); Mortensen, Finn: Quartet, Op. 19 (*83. Ny Miller, Cassandra: Traveller Song (**2019. Musikks Ensemble); Plus-Minus Ensemble / Knoop / Bereza, Morthenson, Jan W.: Coloratura III Niedźwiedź, sound); (*67. MB-Zagreb Group / Gjadrov), Milošević, Tatjana: Buzzle (*2001. Worms, pf); Coloratura IV (*71. Silesian PO / Taverna), Minami, Hiroaki: Banka (*68. XLII World Morendo (*78. NPO and Choir / tape / Festival of the ISCM. Kato, sopr / Polish Kaspszyk); Radio NSO / di Bonaventura); Moryto, Stanisław: Per uno solo (89. Minard, Robin: Qu’il m’en souvienne (**87. Skoczyński, perc); tape), Ré (*93. Mykietyn, cl / tape), Resonanz Moss, David: Music By, For & Against John (*96. Grzybowski, pf / Bielak, perc / tape), Cage (*94. D. Moss, voice and perc); Silent Music (*95. installation); Moss, David – Tempo Reale: Many More Voices Mincek, Alex: “…it conceals within itself…” (*2017. Moss, texts and voice / Canavese, (2015. Talea Ensemble); live electronics / Giomi, sound and live Minchev, Georgi: Concerto for Piano and electronics); Orchestra (*83. Drenikov / Sofia PO / Ilyev), Moss, Lawrence: Korea (*2005. tape), Korea / 293 Three Poems (*73. Milcheva, sopr / for Kwartludium (**2005. Kwartludium); Bulgarian Radio and TV SO / Stefanov); Moss, Piotr: Concertino (94. Polish Radio Mion, Philippe: Statue (*87. tape); Chamber Orch. ‘Amadeus’ / Duczmal); M Miroglio, Francis: Fluctuances (*63. Mossolov, Alexander: Iron Foundry (73. Ballet Gazzelloni, fl / Pierre, hp / Casadesus, Ensemble and Orch. of the Grand Theatre, Masson, perc), Insertions (*86. Chojnacka, Warsaw / Lazzini, choreography / Madey, cemb), Réseaux (*70. Mazurek, hp / NPO / musical dir.), Piano Sonata No. 5 (*85. Markowski), Strates éclatées (*78. Scottish Henck), The Iron Foundry Op. 19 (99. NPO / NO / Markowski); Michniewski); Mirzoyan, Eduard: String Quartet in D Minor, Moszumańska-Nazar, Krystyna: Bel canto Op. 12 (*63. Komitas Quartet); (75. Łazarska, sopr / Kóska-Polonek, cel / Misiek, Ryszard: The Ghost Sonata (78. Janeczek, perc), Challenge (77. Artysz, bar / Wrocław Instrumental Theatre / Misiek, dir.); instrumental ensemble / Michniewski), Miyoshi, Akira: Concerto pour violon et orchestre Concerto for Percussion and Orchestra (2001. (*77. Ishikawa / Tokyo Metropolitan SO / Pilch / NPO / Strugała), Fantasy (88. Pilch, Watanabe); Mobile; Dialogues; Fragmente; mrb), Fresco (89. Ukrainian SO, Kiev / Un Poéte à New York – choreographic Blazhkov), From End to End Percussion composition (*66. Compagne de Danse (86. Pilch), Hexaèdre (65. Orch. of the City Contemporaine de Paris / Pardo and Henry of Helsinki / Panula), Interpretations (68. d’Epinoy, dir. / music: E. Canton, A. Webern, Świątek, fl / Stefański, perc / tape), Leggiero Ch. Ives, E. Varèse – from tape) e mobile (99. Wind Orch. of Royal Northern Moc, Michał: A-cordeON (**2017. Frąckiewicz, College of Music, Manchester / Reynish), acc / Bojanowicz, vc), Po-wer (**2013. New Music for Strings (**63. Polish Radio NSO / Music Orch. / Bywalec), S.A.N.D (**2011. Krenz), Pour orchestre (73. Bulgarian Radio Bojanowicz, Pepol, 2 vc / Ritmodelia / and TV SO / Stefanov), Quartetto per archi Orlicki, visual setting); (79. Royal Łazienki String Quartet; 81. Mocanu, Adrian: metamorphoses: nychterídes Kreuzberger Streichquartett), Rapsod II (80. (2019. European Workshop for Cracow PO / Katlewicz), String Quartet No. 2 Contemporary Music / Bohn); (83. Wilanów String Quartet), Variants (80. Mochizuki, Misato: All that is including me Opuszyński, pf / Pilch, perc), Variazioni (*2005. Ensemble TIMF / Choe), Homeobox concertanti (71. Dastych-Szwarc, fl / Silesian (*2010. Kwiatkowska, vn / Walentynowicz, pf PO / Taverna); / Polish Orch. Sinfonia Iuventus / Gulikers), Motz, Wolfgang: … und lächelnd ihr Übel Voilages (*2010. Österreichisches Ensemble umarmen (*90. tape); für Neue Musik / Tamayo); Mowitz, Ira: A la mémoire d’un ami (*84. tape); Modern Pentathlon (2019. screening of a film; Müller-Siemens, Detlev: Under Neonlight II Dziworski, dir. / Rudnik, music); (*85. Banfield, pf); Moguillansky, Eduardo: aide – mémoire 2 Mumma, Gordon: Telepos (*72. performed as (‘B’ is for berliner rohrpost) (**2009. Wörner, music to ballet TV Rerun. Merce Cunningham voice / Kwartludium / Moguillansky); Dance Company / music from tape); Moldovan, Mihai: Ancestors’ Songs (*73. Münch, Wolfgang: see Fujihata, Masaki – Simon, sopr / Ars Nova Cluj / Taranu), Flûte Kiyoshi Furukawa – Wolfgang Münch; Mundry, Isabel: Komposition für Flöte und costumes / Stokłosa, stage motion / Schlagzeug (**2002. Ensemble Recherche), Nalazek, light / Guziołek-Tubelewicz, sound Le Silence – Tystnaden (*2010. European / Szymkowiak, video), U Radka (94. composers / compositions / performers / 1956–2019 Workshop for Contemporary Music / Bohn); Nonstrom), Wax Music (*2013. Weber, Muntendorf, Brigitta: Key of Presence (*2016. phonographs / Drążkowska, pf); Grauschumacher Piano Duo / Hummmel, Nabicht, Theo – see Molinari, Ernesto – live electr.), play me back and forth (*2017. Theo Nabicht; Decoder Ensemble / Schubert, electronics / Naissoo, Uno: Against the War (*75. Tallinn Bereza, Kunda, sound), Public Privacy #5 Chamber Choir / Areng); Aria (*2017. Walentynowicz, sampler / video), Nancarrow, Conlon: Piece No. 2 (*89. Asko shives on speed (*2017. Spółdzielnia Ensemble / Porcelijn), Studies for Player Muzyczna Contemporary Ensemble / Piano (*89. Nos: 3A, 10, 12, 21, 24, 25, 27, 31, Rusowicz); 36, 37. player piano; *99. No. 7, 2a, 2b. Murail, Tristan: Allégories (*94. Cikada Icebreaker / McAlindin), Tango? (*88. Ensemble / Eggen), Désintégrations (*85. Mikhashoff, pf), Toccata (*89. Bąkowski, Ensemble InterContemporain / Tamayo), vn / player piano); Ethers (*81. Bocquillon, fl / Ensemble Naón, Luis: Soplando Almas for quena and de l’Itinéraire / Mercier), La Barque Mystique tape (*2008. Rossi / Okoń-Makowska, (*95. Ensemble Alternance / Masson), Błażejczyk); Le Désenchantement du monde (*2013. Narbutaite, Onute: Beads (*97. Ex tempore / Nagano, pf / Polish Radio NSO / Liebreich), Saga duo), Krantas upò simfonija (bank river Le fou à pattes bleues (*2001. Bowie, fl / symphony) – Symphony No. 4 (**2007. Cottet, pf), Le Lac (2019. European Workshop Sinfonia Varsovia / Lyndon-Gee), Melody for Contemporary Music / Bohn), Les Sept in the Garden of Olives (2013. Nowak, tr / Paroles du Christ en Croix (*92. NPO and Choir Aukso), Metabole (*94. Polish Radio / Nowak), Tellur (*89. Andersson, gtr), Treize Chamber Orch. ‘Amadeus’ / Duczmal); couleurs du soleil couchant (*90. Divertimento Nejtek, Michal: Distress Sonata (*2002. Ziskal, Ensemble / Gorli), Vampyr! (*2003. Hijmans, videoman / New Music Orch. / Bywalec), electr gtr), Winter Fragments (*2006. New Hudba pro 18 strun for electric guitar and Music Orch. / tape / Deroyer); string trio (*2001. Sroka / members of Aukso), Musgrave, Thea: Clarinet Concerto (*70. Ultramarine (Songs in the Distance) (*2018. Brymer / Royal Liverpool PO / Groves), NPO / Kaspszyk); Concerto for Orchestra (*86. Cracow PO / Nemescu, Octavian: Combinaisons en cercles Strugała), Serenade (*62. Melos Ensemble); (*2002. Csendes, vla / Kivu, vc / Anghel, perc Mycielski, Zygmunt: Fragments (**87. Silesian / tape), Pinascensiocristicho (*2011. New PO and Choir / Stryja), Liturgia sacra (**86. Music Orch. / Bywalec / Nemescu, sound), Cracow PO and Choir / Strugała), Polish rouauruauor (for 9 in the morning) (*2008. Symphony (56. Polish Radio and TV SO, Profil Ensemble / Soare); Cracow / Gert), Psalm XII (**84. Hiolski, bar / Nepelski, Karol: PRIMORDIUM: Naturalia Polish Radio and TV SO and Choir, Cracow / (**2009. European Workshop for Katlewicz), Symphony No. 2 (62. Silesian PO / Contemporary Music / Bohn); Stryja), Symphony No. 3 – Sinfonia breve Neuringer, Keir: The Love Story (*2013. (72. Rundfunk-Sinfonieorchester, Leipzig / Neuringer, sax / Wolniewicz, sound); 294 \ Kegel), Symphony No. 4 (80. Moscow SO / Neuwirth, Olga: Lost Highway, opera to Dudarova); a libretto by E. Jelinek and O. Neuwirth Mykietyn, Paweł: An Album Leaf (**2002. (2016. Falk, bar / Majewska, sopr / Moss, M–N Bauer, vc / computer), An Ignoramus and voice / Łykowski and Sławecki, 2 counter-ten a Madman, chamber opera with libr. by / Zięba, Maj, Kronenberger, Olejnik, K. Warlikowski (2001. Puczniewska, Bronowicki, Szewczyk, actors / Pasiecznik, 2 sopr / Kenny, counter-ten / instrumentalists of the Wrocław Laszczkowski, ten / Artysz, bar / Bielska, Philharmonic National Forum of Music / actress / Instr. Ensemble of the Grand Unger / Korczakowska, dir. / Met, Theatre Orch., Warsaw / Michniewski / scenography / Adamski, costumes / Wygoda, Szczęśniak, set and costume designer / choreography / Gawlas, live electr. / Warlikowski, dir), Becoming Fine (**2004. Kozakiewicz, video / Sobiszewski, light / Artysz, bar / Łabanow, cemb / Dafô String Błaszczak, Migas, sound), Nova Mob Quartet / Fiugajski), Commencement (*2000. Neue Vocalsolisten Stuttgart / de siècle (**99. Icebreaker / McAlindin), 6 casette tape recorders), Ondate (*2000. Eine kleine (**95. Ensemble Vienna Saxophone Quartet), spazio elastico Alternance / Masson), Epiphora (**96. (*2007. Klangforum Wien / B. Furrer); Grzybowski, pf / tape), 3 for 13 (2003. New New Culture Quartet, The (Jan Bark, Fuzzy, Music Orch. / Bywalec), Herr Thaddäus Thord Norman, Folke Rabe): The Ship of (2018. Beethoven Academy Orchestra / Fools for instruments, tape, electronics, Kociuban / Bałka, stage design / Albińska- light and movement. Intermedia-show of Frank, sound / Perkowski, light realization), performers (*84. The New Culture Quartet); Klave (2010. Chojnacka, cemb / Aukso / Moś Newski, Sergej: Die Zerstörung von Moskau / Okoń-Makowska, sound), La strada (93. ist keine Lösung, chamber opera, part of Polak, ob / Rekść-Raubo, vc / Grzybowski, opera saga Kommander Kobayashi, libr. pf), Piano Concerto (**97. Pobłocka / Polish T. Dusche (*2006. Sturludóttir, Morikawa, Radio Orch. / Michniewski), Shakespeare’s Pshenitschnikova, 3 sopr / Fischer, m-sopr / Sonnets (**2000. Laszczkowski, male sopr / Kröner, alto / Kobayashi, ten / Henriks, bass Grzybowski, pf), Sonata for Cello Solo or with / Ensemble Mosaik / Larrañaga / Fischbeck, Live Electronics (**2006. Bauer), St. Mark stage and costume design / Kießling, video / Passion (2009. Kryger, m-sopr / M. Stuhr, Bittner, lights / Holm, dir.); reciter / K. Woś, voice / Karaszewski, Niblock, Phill: Baobab (*2015. Janáček Dziedzic, Livmanis, Tchorek, 4 boy sopr / Philharmonic Orchestra Ostrava / Nagy), Cantores Minores Wratislaviensis / Aukso / The Movement of People Working (*2011. M. Moś), Symphony No. 2 (**2007. Polish Niblock, sound and image projection); Radio NSO / de Leeuw), , Nichifor, Serban: Anamorphose (*78. opera after the nover by T. Mann (2016. Assmann-Quartett), Dionysies (*81. F. Popa, Zubel, sopr / Konieczny, bass / Maliszewski, cl / T. Popa, pf / tape), Tango for Yvar (*88. bass-bar / Majewska, sopr / Noval-Moro, Mikhashoff, pf), Trandafirul Negru ten / Kryger, m-sopr / Rappé, alt / Habela, (**87. Stępień, m-sopr / Esztényi, pf); bar / Kozłowski, ten / Banaszak, musical dir. Niculescu, Stefan: Aphorisms by Heraclitus / Sikorska-Miszczuk, libretto / Chyra, dir. / (No. 7: In Transformation there is Rest) Bałka, stage design / Maciejewska, (*78. Madrigal Choir / Constantin), Formanti (*72. Cluj Philh. Chamber Orch. / Cristescu), Opera and Philharmonic / NPO / Vis), Ison II. Concerto for Wind Instruments and La fabbrica illuminata (2003. Castellani, sopr / Percussion (*83. instrumental ensemble / tape), La lontananza nostalgica utopica futura. Welanyk), Sincronie (*2002. Csendes, vn / Madrigale per più ‘Caminantes’ con Gidon composers / compositions / performers / 1956–2019 Kivu, vc / Anghel, pf), Symphonies pour Kremer (*2004. Pryn, vn / tape), No hay 15 solistes (*65. Roumanian Film Studios caminos. Hay que caminar… Andrei Tarkovskij Orch. / Bugeanu); (*91. SWF Sinfonieorchester Baden-Baden / Nielsen, Carl: Symphony No. 5, Op. 50 (89. Bamert), Omaggio a György Kurtág (2017. Danish Radio SO, Copenhagen / Segerstam); Frenkel, counter-alto / Ensemble Nikodemowicz, Andrzej: Hear, o God, My Call Experimental / SWR Experimentalstudio), (87. Rappé, counter-alto / Silesian PO / Omaggio a The Red Coat (63. Ballet Ensemble Stryja), Sonorità (77. Klocek, vc); and Orch. of the Grand Theatre, Warsaw / Nikodijević, Marco: sadness untitled (*2010. Adret, choreography / Wodiczko, musical dir.), Freszel, Siedlecka, 2 sopr / Krzyżanowska, Post-praeludium Donau (*88. Schiaffini, tba / m-sopr / Orest De Ereprijs / Boerman / Experimentalstudio der Heinrich-Strobel- Błaszczak, sound); Stiftung des Südwestfunks; 2017. Bazsinka, Nikolaev, Vladimir: vnik-ton experience tba / SWR Experimentalstudio), Quando (*2005. Seattle Chamber Players); stanno morendo, Diario Polacco N. 2 (*88. Nikolov, Lazar: Divertimento d’improvisation Ade-Jesemann, Bair-Ivenz, Brustman, 3 sopr (*68. Sofia Chamber Orch. / Kazandjiyev), / Otto, alto / Fabbriciani, fl / Uitti, vc / Piano Concerto No. 2 (*64. Drath / Silesian Experimentalstudio der Heinrich-Strobel- PO / Stryja), Sonata for Flute and Piano Stiftung des Südwestfunks / Richard), Sarà (**62. Chudyba / Szamotulska); dolce tacere (*72. Schola Cantorum Stuttgart Nilsson, Bo: Bewegungen; Quantitäten; / Gottwald), …sofferte onde serene… (*77. Schlagfiguren, as music to ballet Night Pollini, pf / tape; 91. Siwiński, pf / tape), Wandering (*64. Tudor, pf / Merce Three pieces from ‘Das atmende Klarsein’ Cunningham Dance Company), Déjà-vu (*70. (*88. Fabbriciani, fl / Experimentalstudio Filharmonikernas Blaser, Stockholm), Entrée der Heinrich-Strobel-Stiftung (*67. NPO / Rowicki), Mädchentotenlieder des Südwestfunks); (*60. Nendick, sopr / Cracow PO / Noordegraaf, Arnoud: Pong (*2006. A. de Man, Markowski), Quantitäten (*58. Tudor, pf), cemb / Noordegraaf, sound and video dir.), Séance (*71. Silesian PO / Stryja), Zwanzig Tod & Wahnsinn (*2006. van Raat, pf / für Bläser (*62. members Noordegraaf, sound and video dir.); of the Dorian Quintet); Nordentoft, Anders: Doruntine Nilsson, Ivo: Rotorelief (**2002. (*98. Danish Trio); KammarensembleN / Rivolta); Nordheim, Arne: Adieu (**94. Sinfonietta Nimikry: Design of a Memory III (*2017. Cracovia / Michniewski), Clamavi (*83. Baticci, b fl / Zalech, vl / Okoń-Makowska, Kvalbein, vc), Dinosaurus (*75. Ellegaard, acc Kunda, Czechowicz, sound); / tape), Eco (*70. Valjakka, sopr / Pathfinder Nishimura, Akira: Kecak (*94. Cracow Children’s Choir and NP Choir / NPO / Percussion Group), Ode for Ekstasis (*83. Markowski), Epitaffio (*65. Silesian PO / tape tape); / Stryja), Floating (*72. Polish Radio NSO / Noble, Andrew: trickle down (*2014. Molinari, Kord), La mia canzone (**87. Armanowska, cb cl / Nabicht, cb cl); sopr / Witkowski, pf / Ptaszyńska, perc), / 295 Nobre, Marlos: String Quartet No. 1, new Signals (*75. Mobile Trio), Solitaire (**69.; 97. version (**75. Quarteto da Universidade tape), Spur (*78. Ellegaard, acc / Radio de Brasilia); Kamerorkest Hilversum / Bour), Tenebrae N Nonimprovisation – Noncomposition, collective (*87. Jabłoński, vc / Silesian PO / Stryja), piece by performers (*67. Yadzinski, cl / The Descent, radio poem (83. from tape), Davis, vc / Foss, pf / Williams, perc); Tractatus (*98. Thivång, fl / Ars Nova / Nono, Luigi: A Carlo Scarpa architetto, ai suoi Eikaas), see also Enkyklopaideia; infiniti possibili (*88. SWF Sinfonieorchester Nørgård, Per: Achilles and the Tortoise (*93. Baden-Baden / Gielen), A Pierre. Dell’azzurro Salo, pf), Arcana (*75. Mobile Trio), Fragment VI silenzio, inquietum (2012. Fabbriciani, cb fl / (*69. Silesian PO / Stryja), …gennem torne… Molinari cb cl / Experimentalstudio des (…through thorns…) (*2007. Rehling, hp / SWR), Canciónes a Guiomar (*64. Dorow, sopr Malicki, fl / Pachlewski, cl / Silesian String / NPO and Choir / Rowicki), Canti di vita Quartet / Wolińska), Helle Nacht (*89. Kontra, e d’amore. Sul ponte di Hiroshima (*63. vn / Danish Radio SO, Copenhagen / Łukomska, sopr / Tappy, ten / Silesian PO / Segerstam), I Ching, parts I, IV (2017. Pękala, Stryja), Como una ola de fuerza y luz (*75. perc), Indblik (*72. Den Danske Kvartet; 93. Taskova, sopr / Krpan, pf / NPO / tape / Kontra Quartet), Iris (*68. XLII World Festival Markowski), Composizione per orchestra No. 1 of the ISCM. Polish Radio NSO / (*59. Polish Radio NSO / Krenz), di Bonaventura; 2009. Polish Radio NSO / Composizione per orchestra No. 2. Diario Kaspszyk), L’enfant et l’aube (*93. Maćkowiak, Polacco ’58, new version (**65. Poznań PO / sopr / Knetig, ten / Instrumental Ensemble Les Percussions de Strasbourg / tape / of Warsaw Chamber Opera / Nowakowski), Markowski), Con (*91. Luna (*70. Royal Liverpool PO / Groves), Cracow Percussion Group), Das atmende Momentum – Cello Concerto No. 2 (**2009. Klarsein (2006. Fabbriciani, fl / Camerata Kullberg, vc / New Music Orch. / Bywalec), Silesia / A. Szostak / Vidolin, live electronics), Out of this World (Parting) (**94. Sinfonietta Donde estás, hermano? (*2000. Neue Cracovia / Michniewski), Prelude to Breaking Vocalsolisten Stuttgart), Emilio Vedova (*62.; (*93. Maćkowiak, sopr / Instrumental 91.; 2003. tape), Epitaffio per Federico Garcia Ensemble of Warsaw Chamber Opera / Lorca – III. Memento. Romance de la guardia Nowakowski), Remembering (*93. Salo, pf), civil española (*62. Świętoniewska, recitation / Sinfonia No. 2 (*73. Polish Radio NSO / de Cracow PO and Choir / Markowski), Carvalho), Solo in Scena (*88. Uitti, vc), Spell Fragmente-Stille, an Diotima (*83. Wilanów (*85. Den Fynske Trio), String Quartet No. 8 String Quartet), Guai ai gelidi mostri (*98. Silesian String Quartet), Symphony No. 4 (*2012. Frenkel, Otto, 2 counter-altos / (*98. NPO / Michniewski), Symphony No. 6 Ensemble Experimental / Heusinger / ‘At the End of the Day’ (*2002. Polish Radio Experimentalstudio des SWR), “Hay que NSO / Chmura), The Rose fingered Dawn caminar“ sognando (2015. Woroch, (**98. Thiwång, fl / Helander, vla / Östersjö, Markowicz), Il canto sospeso (*61. Gayer, sopr gtr), Three Miniatures (*93. Kontra Quartet), / Ogłaza, alto / Tappy, ten / NPO and Choir / Tintinnabulary (*93. Kontra Quartet), Rowicki, 2011. Zubel, sopr / Rappé, alto / Unendlicher Empfang for two pianos and Smulczyński, ten / Choir of the Podlasie four metronomes (**98. Peter Jablonski, M. Wesołowski, 2 pf), Waves (*75. Lylloff, Il Liuto d’Orfeo (*2001. Östersjö, gtr / tape), perc), Whirls (2017. Kordylasińska-Pękala, Tarpeian Rock (*98. Ars Nova / Eikaas); Pękala, 2 perc / Warsaw Gamelan Group), Olofsson, Kent – Jörgen Dahlqvist: Intérieur / composers / compositions / performers / 1956–2019 see also Enkyklopaideia; Extérieur (**2012. Duo Petrini-Jünger / Norman, Andrew: Unstuck (*2018. NPO / Dahlquist, video / Błażejczyk, sound); Kaspszyk); Olsen, Poul Rovsing: Patet (**66. Ensemble Norman, Thord: see New Culture Quartet, The; Prisma / Vetö), Trio No. 2 for Violin, Cello Novák, Jan: Concerto for Two Pianos and and Piano (*98. Danish Trio); Orchestra (*56. Novákova and Novák / Brno Olszamowski, Sławomir: Chorale Rhapsody PO / Bakala), Tres cantus (*63. NP Choir / (**86. Silesian PO / Stryja); Kuklewicz); Omelchuk, Oxana: Staahaadler Affenstall Novák, Vitežslav: Jihočeska suita, Op. 64 (*2018. European Workshop for (56. Brno PO / Bakala); Contemporary Music / Bohn / Gałek, sound); Nowak, Aleksander: Breaking News (*2011. Oña, Erik: Alles Nahe werde fern… (*2004. Sałajczyk, electronics / NPO / Vis), Dark- Thürmchen Ensemble / Oña); Haired Girl in a Black Sports Car (**2009. Opera about Poland (2018. film projection; London Sinfonietta / Atherton), Last Days Stasik, dir. / Zagajewski, music); of Wanda B. (2008. Wrocław Chamber Orch. Opera for the Deaf (2019. screening of a film; ‘Leopoldinum’ / Kovacic), to the words Solakiewicz, dir. / Piotrowicz, music); (**2018. NPO and Choir / Kaspszyk), see Operation Opera (**2019. screening of a film also Dudek, Adam – Aleksander Nowak; about Aleksander Nowak; Sosiński, dir.); Nowak, Wojciech: Trio (90. Mleczko, alto sax / Oppo, Franco: Digressione (*72. NPO / Koźlik, acc / Esztényi, pf); Markowski), Praxodia (**76. Ravazzi, sopr / Nowitz, Alex: Angelus Novus II and III Camerata Strumentale ‘Alfredo Casella’ / (fragments) (*2009. Nowitz, live electronics), Peyretti); I am that merry wanderer of the night, Oprina, Virgil: Desperado (*2007. Electric Pro fragment of theatre music for Midsummer Contemporania); Night’s Dream by W. Shakespeare (*2009. Ore, Cecilie: Praesens subitus (*93. Wilanów Nowitz, voice), Studies for Self-Portrait String Quartet); (*2009. Nowitz, voice and live electronics), Orff, Carl: Die Klage der Ariadne (*79. Soffel, voicescapes (*2009. Nowitz, voice); m-sopr / Orch. der Württembergischen Nubla, Victor: It’s Bad for Your Health (*98. Staatsoper, Stuttgart / Poettgen, staging / European Improvisation Orch.), see also B. Kontarsky, musical dir.), Die Kluge (79. Frimann, Henning – Victor Nubla – Tim Württembergische Staatsoper, Stuttgart / Hodgkinson; Poettgen, staging / B. Kontarsky, musical dir.); Nunes, Emanuel: Omens II (*87. Ensemble des Osada, Ryszard: E-motion (2004. G. Toporowski, Instituts für Neue Musik der SHM, Freiburg / R. Toporowski, 2 acc / tape), Mimesis II Tamayo), Versus III (*93. Renggli, fl / Magnenat, (*2008. Sond’ar-te Electric Ensemble / vla from Contrechamps Ensemble); Amaral / Azguime, sound); Nunez Montez, Francisco: Tarasca Dance Osborne, Nigel: Fantasia (*87. Lontano / (**80. Music Workshop); de la Martinez), In Camera (*80. London Nunn, Patrick: Screw (*99. Icebreaker / Sinfonietta / Zollman), Kerenza at the Zawn McAlindin); (**78. Pędziałek, ob / tape), Stone Garden 296 \ Nuyts, Frank: Symphony No. 3 (*98. Polish (*89. London Sinfonietta / Masson), Radio Orch. / Gazon); The Sickle (*78. Dorow, sopr / Radio Nyman, Michael: A Neat Slice of Saraband Kamerorkest Hilversum / Bour); N–P (**80. Music Workshop), Concerto for Ospald, Klaus: Tschappina Variationen Harpsichord and Strings (*95. Chojnacka / (*2007. SWR Sinfonieorchester Baden- Sinfonia Varsovia / Maksymiuk), String Baden und Freiburg / R. Huber); Quartet (**85. Arditti String Quartet); Osterc, Slavko: Nonet (*63. Ansambl ‘Slavko Oboładze, Justyn: Happy Birthday, Happy Osterc’ / Petrić); Birthday… (**2015. sound installation); Oswald, John: Spectre (*92. Kronos Quartet); Obukhov, Nikolai: Le Livre de la vie: Préface Otte, Hans: Nolimetangere (*72. Riechert, (*2010. Zubel, sopr / Watts, ten and falsetto / actress / Otte, pf), Text (*76. Sparnaay, b cl); Urbanowicz, bass / Sinfonia Varsovia / Pablo, Luis de: Módulos I (*69. Grupo Alea / Siebens); Gil), Móvil (*65. Duo Kontarsky, 2 pf), Ockert, Matthias: open room in overlapping Prosodia (*67. MB-Zagreb Group / Gjadrov), spaces (**2013. Kwartludium / European Soledad interrumpida (*72. Alea, Musica Workshop for Contemporary Music / Electronica Libre), see also Enkyklopaideia; Błaszczak, Okoń-Makowska, Wolniewicz, Paccagnini, Angelo: Vento nel vento (*66. van sound / Bohn); Sante, m-sopr / Orch. RAI Torino / Rossi); Ohana, Maurice: Etudes choréographiques Paciorkiewicz, Tadeusz: String Quartet No. 2 (*65. Les Percussions de Strasbourg), (86. Varsovia String Quartet), The Weight Tango (*92. Chojnacka, cemb); of the Earth (**61. Skowron, sopr / Olah, Tiberiu: Columna infinita (*65. K. Bacewicz, pf); Roumanian Film Studios Orch. / Bugeanu), Padding, Martijn: Bels Dous Amics (*2002. Invocation (*71. Musica Nova Bucharest), Harpaz, voice / Faulborn, cemb), Bien Perspectives (*73. Ars Nova Cluj / Taranu), mesure bien (2000. Tiensuu, cemb), First Time of the Deers (*83. Madrigal Choir / Harmonium Concerto (*2010. Luijmes / Constantin); Orkest De Ereprijs / Boerman / Błaszczak, Olavide, Gonzalo de: En siete limites sound), Padding’s Millennium Peasant (*69. Grupo Alea / Gil); Dance No. 1 (*2003. De Ereprijs / Boerman), Oleszkowicz, Jan: Embryon (92. NPO / Speculum Inversum (*2001. Pranger, sopr / Nowak), Scontra (91. Górzyńska, vn / tape), Loos Ensemble), Tattooed Tongues, three-part Stabat Mater (**72. Tomaszczuk, fl / Skubis, opera The Land of Ulro, part one; libr. cl / Gnida, hrn), The Bird of Death (**84. F. Haverkamp (**2001. Krüs, sopr / Dastych-Szwarc, fl / tape); Laszczkowski, ten and male sopr / Claessens, Oliveira, João Pedro: Timshel (*2008. Sond’ar-te bass-bar / Loos Ensemble / Silesian String Electric Ensemble / Amaral / Azguime, Quartet / Wind Ensemble / Michniewski / sound); Hanna, choreography / Guntenaar, digital Oliveros, Pauline: Buy, Buy Butterfly projection design / Szczęśniak, set and (*2014. tape, Błażejczyk, sound); costume design / Warlikowski, dir; 2019. Olkuśnik, Joachim: Sequences opera footage presentation); (80. Wiłkomirska, vn / Chmielewski, pf); Pagh-Paan, Younghi: Man-Nam (*87. Olofsson, Kent: Flutes and Cymbals for Cybele Ensemble des Instituts für Neue Musik (*92. Thiwång, fl / Swedberg, perc / tape), der SHM, Freiburg / Tamayo), Noch… ‘In memoriam ’ (*2005. Rikus, String Quartet), String Quartet No. 3 ‘Paper m-sopr / Engel, baryton), Sori (*84. Silesian Cuts’ (*92. Wilanów String Quartet), String PO / Stryja), TA-RYONG II (*88. Radio Sextet (*88. Varsovia String Quartet / Kamerorkest Hilversum / Zender), TA- Kamasa, vla / Skuła, vc), Symphony No. 9 composers / compositions / performers / 1956–2019 RYONG IV (*2005. Pilch, perc), TSI-SHIN-KUT (Sinfonia di Speranza) (*87. Capella (*2006. Schlagquartett Köln / tape), U-mul Cracoviensis / Kaspszyk), Symphony No. 10 (*2004. Thürmchen Ensemble / Oña); (*90. NPO / Panufnik), Tragic Overture (90. Paiuk, Gabriel: Distancia (efectos de superficíe) NPO / Michniewski), Twelve Miniature Studies (**2008. Tik-Tak, beatboxer / Kwartludium); (90. 1947 version. Esztényi, pf), Universal Palacios, Canela: La permanencia (*2014. Prayer (*77. Woytowicz, sopr / Szczepańska, Orquesta Experimental de Instrumentos m-sopr / Skulski, bar / Zalewski, bass / Nativos / Prudencio); Mazurek, Kowalczuk, Sikorzak, 3 hp / Paladin, Radu: Folk Song and Dance Chorosiński, org / Choir of the Grand (*78. Madrigal Choir / Constantin); Theatre, Warsaw / Straszyński); Palester, Roman: Adagio (**93. Sinfonia Pápp, Lajos: Quintet for and String Varsovia / Krenz), Concerto for Viola and Quartet (*75. Fábián / Kodály Quartet); Orchestra (**79. Kamasa / NPO / Markowski), Parades and Changes – choreographic Metamorphoses (**81. Silesian PO / Stryja), composition (*65. Dancer’s Workshop Missa brevis (94. Camerata Silesia / Szostak), Company of San Francisco / Halprin, dir. / Symphony No. 4 (*58. NPO / Skrowaczewski), M. Subotnick, F. Rabe, sound); Symphony No. 5 (**88. Polish Radio NSO / Paraskevaídis, Gracíela: algún sonido Krenz), The Death of (92. Cracow de la vida (*2011. Stachula, Bajer, 2 ob), Opera House / Zawodziński, staging / alibi (**2008. Sonic. Art Quartett), sendas Michnik, musical dir.); (*2010. Österreichisches Ensemble für Pałłasz, Edward: Apostrophe (**87. Knapik, Neue Musik / Tamayo), y allá andará según pf / Moś, vn / Syrnicki, vla / Janosik, vc), se dice (*2014. Orquesta Experimental De Beata Virgine Maria Claromontana de Instrumentos Nativos / Prudencio); (**85. Szczecin Technical University Choir / Paredes, Hilda: Cancíones sombre poemas Szyrocki), Łado, Łado (92. Zalewski, lute / de Eduardo Hurtado (*2008. Kubler, sopr / Schola Cantorum Gedanensis / Łukaszewski), Costanzo, pf), Can silim tun (*2000. Neue Supplicatio (84. Gadulanka, sopr / Witkiewicz, Vocalsolisten Stuttgart / Arditti String Quartet); bass / Choir of the State Secondary School Parker, Evan – Joel Ryan: improvisation of Music, Katowice / Silesian PO and Choir / (**2009. Parker, sax / Ryan, live electronics); Stryja), Symphony ‘1976’ (77. Tokyo Parmegiani, Bernard: Capture Ephémère (*70. Metropolitan SO / Watanabe), Two Dreams tape), exercisme 3 (*87. tape), Outremer (*71. of Life and Death (91. Polish Radio Chamber Sibon-Simonovitch, ondes Martenot / tape); Orch. ‘Amadeus’ / Duczmal), Violin Concerto Parmegiani, Bernard – Devy Erlih: Violostries (**80. Wiłkomirska / Silesian PO / (*67. Erlih, vn / tape; 69. Ballet-Théâtre Michniewski); Contemporain, Amiens / Descombey, Pampin, Juan: On Space (*2009. Percussion choreography / music from tape); Group of the Academy of Music in Kraków / Parmenter, Joshua: risonanza (**2009. Caputa, sound / Pampin, electronic media Parmenter, electronic media and ambisonic and ambisonic sound projection / Sowa, sound projection / Sowa, integration of integration of visual spaces, lighting); visual spaces, lighting); / 297 panGenerator, Music of the Spheres Parmerud, Åke: KRÉN (*84. tape), Les objets (**2016. interactive installation); obscurs (*93. tape), Stringquartett (*94. tape), Panhuysen, Paul: Mechanical Orchestra of Strings & Shadows (*2002. Bova, hp / tape), P Stringed Instruments (**95. installation); The Heart of Silence, multimedia project Panisello, Fabián: Concierto de Cámara (*98. Eriksson dancer / Schola Cantorum (*2008. Plural Ensemble / Panisello), Gedanensis / Łukaszewski), see also Le malentendu, concert version Blomqvist, Anders – Åke Parmerud; of the chamber opera, libretto based on Parra, Héctor: Fibrillian – Chamber the play by A. Camus (*2016. Komsi, sopr / Symphony No. 2 (**2008. Wrocław Łukaszewicz, m-sopr / Żołądkiewicz, bar / Chamber Orch. ‘Leopoldinum’ / Kovacic); Siemieńczuk, sopr / Samojło, pf and Pärt, Arvo: Adagio (*96. Pobłocka, pf / Moś, vn keyboard / Piszek, keyboard / Lorent, / Bauer, vc), An den Wassern zu Babel sassen Jarosiński, perc / Chain Ensemble / wir und weinten (*89. The Hilliard Ensemble), Panisello / Baskind, Bereza, sound / Cantate Domino (*89. The Hilliard Ensemble), Dudek, video), Libro del frio (*2013. Bell, Cecilia, vergine romana (*2002. NPO / Wit), sopr / New Music Orch. / Bywalec); Es sang vor langen Jahren – Motette für Panni, Marcello: Menuet (**80. Music de la Mott (*89. The Hilliard Ensemble), Workshop); Fratres (*87. BBC Scottish SO / Maksymiuk), Panufnik, Andrzej: Arbor Cosmica (*85. Polish Magnificat (*94. Camerata Silesia / Szostak), Chamber Orch. / Maksymiuk; 90. Scottish Miserere (2000. Malanowicz, org / Camerata Chamber Orch. / Stephenson), Autumn Music Silesia / Instr. Ensemble of Silesian Philh. / (*90. NPO / Michniewski), Concertino for Szostak), Orient & Occident (*2001. Aukso / Percussion and Strings (*81. Lauks / Polish Moś), Pari intervallo (*89. Bowers-Broadbent, Chamber Orch. / Maksymiuk), Concerto for org), Passio Domini nostri Jesu Christi Violin and String Orchestra (79. Wiłkomirska / secundum Joannem (92. The Hilliard Polish Chamber Orch. / Maksymiuk; 90. Ensemble / Chor des Kölner Bach-Vereins / Wiłkomirska / Scottish Chamber Orch. / Collum), Perpetuum mobile (*65. Poznań PO Panufnik), Dreamscape (*90. Rappé, alto / / Markowski), Sieben Magnificat-Antiphonen Esztényi, pf), Harmony (*90. Scottish Chamber (*89. RIAS-Kammerchor / Creed), Silouans Orch. / Panufnik), Katyń Epitaph (89. Poznań Song (*99. Sinfonia 21 / Brabbins), Stabat PO / Michniewski), Lullaby (97. Spring Orch. Mater (*89. The Hilliard Ensemble), Summa of Warsaw Autumn / Kaspszyk), Pentasonata (*89. The Hilliard Ensemble; 92. Kronos (*90. Kowalski, pf), Piano Concerto (*90. Quartet), Tabula rasa (*78. Kremer, Pobłocka / NPO / Michniewski), Piano Trio Grindienko, 2 vn / Schnittke, pf / Lithuanian (96. Pobłocka, pf / Moś, vn / Bauer, vc), Chamber Orch. / Domarkas); Sinfonia di Sfere (*94. Polish Radio NSO / Patachich, Ivan: Ludi spaziali (*84. Körmendi, Wit), Sinfonia Mistica (*89. NPO / Strugała), pf / tape); Sinfonia Sacra (*78. Scottish NO / Gibson), The Path Amongst Notes (2019. screening Sinfonia Votiva (*86. Cracow PO / Strugała), of a film about Zygmunt Krauze; Sosiński, Song to the Virgin Mary (83. Ars Antiqua / dir.); Jaśkiewicz), String Quartet No. 2 ‘Messages’ Patterson, Paul: At the Still Point of the Turning (90. Wilanów String Quartet; 2006. Silesian World (*87. Lontano / de la Martinez), Clarinet Concerto (*77. Malsbury / Polish / Wit), Per Slava (*86. Monighetti, vc), Piano Chamber Orch. / Maksymiuk), Cracovian Concerto ‘Resurrection’ (*2002. Douglas / Counterpoints (*79. Polish Chamber Orch. / Polish Radio NSO / Chmura), Pittsburgh composers / compositions / performers / 1956–2019 Maksymiuk), Sinfonia for Strings (**83. Polish Ouverture (*2012. NPO / Rophé), Polish Chamber Orch. / Maksymiuk), Time Piece Requiem, fragments (84. Gadulanka, sopr / (*76. The King’s Singers); Rappé, alto / Grychnik, ten / Mróz, bass / Pauly, Mauricio: Its fleece electrostatic Polish Radio and TV SO and Choir, Cracow / (*2013. Hellqvist, vn); Wit), (*63. Cracow PO / Pautza, Sabin: Children’s of the World Sacrifice Markowski), Psalmus 61 (62. tape; 2019. tape (*78. Madrigal Choir / Constantin); by Lionel Marchetti), Quartet for Clarinet and Pauw, Josse De: see Wallin, Rolf – Josse String Trio (94. Fröst, cl / Kubica, vn / De Pauw; Syrnicki, vla / Janosik, vc), Quartetto per Pavlenko, Sergei: In the Manner of Gauguin archi I (*62. LaSalle Quartet; 2003. Silesian (*2004. Tantsov, cl / Khodina, vn / Galotchkina, String Quartet; 2006. Dafô String Quartet; vc / Dubov, pf); 2017. Diotima Quartet), Quartetto per archi II Pawełek, Michał: Ephreia (**2015, new (77. Wilanów String Quartet; 2003.; 2006. version. Lutosławski Quartet / Lutosair Silesian String Quartet; 2015. Neoquartet), Quintet / Koczur / Pawełek, electronics / Sextet (2003. Pachlewski, cl / Grochowski, cr Błaszczak, Guziołek-Tubelewicz, sound); / Krzeszowiec, vn / Syrnicki, vl / Janosik, vc / Payne, Anthony: The World’s Winter (*77. Marat, pf), Sinfonietta per archi (92. Polish Manning, sopr / Ensemble 20. Jahrhundert / Radio Chamber Orch. ‘Amadeus’ / Duczmal), Burwik); Sonata per violino e pianoforte n° 2 (*2003. Pedersen, Paul: An Old Song of the Sun Danczowska / Cierpik), Sonata per violoncello and the Moon and the Fear of Loneliness e orchestra (*65. Palm / Poznań PO / (*78. Lyric Arts Trio); Markowski), Stabat Mater (64. Cracow Pe'ery, Hadas: Zero Sum (**2018. Pe'ery, live Philh. Choir / Markowski), Strophes (**59. electrnics); Stachurska, sopr / Delekta, recitation / Peixinho, Jorge: Ciclo-Valsa (**81. Silesian Philh. Chamber Orch. / Markowski), Contemporary Music Group of Lisbon / Symphony No. 1 (*73. NPO / Rowicki; Peixinho), New Sybilla’s Song (*81. 98. MDR Sinfonieorchester / Kalitzke), Contemporary Music Group of Lisbon), Symphony No. 2 (81. NPO / Penderecki), Warsaw Workshop Waltz (**80. Music Symphony No. 3 (*96. Polish Radio NSO / Workshop); Wit), Symphony No. 5 (97. Polish Radio NSO / Penderecki, Krzysztof: Adagietto from Wit), (81. Gadulanka, sopr / Podleś, Paradise Lost (87. Leningrad PO / Jansons), alto / Ochman, ten / Hiolski, bar / Polish Agnus Dei (83. Madrigal Choir / Constantin), Radio and TV SO and Choir, Cracow / Wit), Canon (**62. Polish Radio NSO / tape / The Black Mask (88. Polish version – Krenz), Canticum Canticorum Salomonis Ensemble of the Grand Theatre, Warsaw / (74. NPO and Choir / Markowski; 2006. Lheureux, staging / Satanowski, musical dir.; Camerata Silesia / Sinfonia Varsovia / 88. German version – Ensemble of the Grand Hirsch), Capriccio per oboe e 11 archi Theatre, Poznań / Peryt, staging / (*76. Holliger / Polish Chamber Orch. / Dondajewski, musical dir.), The Brigade of Maksymiuk), Capriccio per Death radio feature (2011. Okoń-Makowska, 298 \ (*70. Palm, vc), Capriccio per violino sound), Threnody to the Victims of Hiroshima e orchestra (68. XLII World Festival of (61. Cracow PO / Markowski; 64. NPO / the ISCM. Wiłkomirska / NPO / Markowski), Wisłocki), Ubu Rex (94. Ensemble of P Capriccio (Scherzo alla polacca) per tuba the Grand Theatre, Łódź / Majewski, staging (80. Piernik), Cello Concerto No. 2 / A. Wicherek, musical dir.), Utrenya (71. (83. Monighetti / Polish Radio and TV SO, Ambroziak, sopr / Szczepańska, m-sopr / Cracow / Penderecki), Concerto for Clarinet Pustelak, ten / Ładysz, bass / Lagger, bass and Orchestra (98. D. Ashkenazy / Sinfonia prof / Cracow PO and Choirs / Katlewicz), Varsovia / Kaspszyk), Concerto per flauto ed Utrenya II: The Resurrection of Christ (2007. orchestra da camera (*93. Grafenauer / Hossa, sopr / Rehlis, alto / Kusiewicz, ten / Sinfonia Varsovia / Penderecki), Concerto Nowacki, bass / Bezzubenkov, bass prof / per viola ed orchestra (86. Zhislin / Polish Warsaw Boys’ Choir at the F. Chopin Radio NSO / Wit), Concerto per violino ed Academy of Music / NP Choir / Cardinal orchestra No. 2 (96. Nizioł / NPO / Krenz), Stefan Wyszyński University Choir in Concerto per violoncello ed orchestra (*93. Warsaw / NPO / Wit), Violin Concerto (79. Pergamenschikow / Sinfonia Varsovia / Kulka / Polish Radio NSO / Penderecki), Penderecki), De natura sonoris I (78. NPO / Vivace from String Trio (91. Deutsches Kaspszyk), De natura sonoris II (76. NPO / Streichtrio), When Jacob Awoke (75. Polish Michniewski), Dies irae (67. Woytowicz, sopr Radio NSO / Penderecki; 87. Cracow PO / / Ochman, ten / Ładysz, bass / Cracow PO Kaspszyk); and Choir / Czyż), Dimensions of Time and Peng, Jing: String Quartet ‘Tsaur Tsau’ Silence (**60. Cracow Philh. Chamber Orch. (*93. Silesian String Quartet); and Choir / Markowski), Ecloga VIII (*76. Penherski, Zbigniew: Anamnesis (78. Scottish The King’s Singers), Fluorescences (69. NO / Markowski), Cantus (93. Camerata Silesian PO / Stryja; 95. Polish Radio NSO / Silesia / Szostak), Incantationi I (73. Poznań Wit), Intermezzo per 24 archi (*78. Polish Percussion Ensemble), Instrumental Quartet Chamber Orch. / Maksymiuk), Magnificat (71. Music Workshop), Introduction (**94. (75. Lagger, bass / Cracow Philh. Boys’ Choir Nonstrom), Jeux parties (**84. Pituch, sax / / Polish Radio and TV Choir, Cracow / Skoczyński, perc), Little ‘Autumn’ Symphony Polish Radio NSO / Penderecki), (**2006. Sinfonia Varsovia / Hirsch), Little Paradise Lost. Sacra rappresentazione (*79. Music for the End of the Century (**99. Yan, Württembergische Staatsoper / Everding, fl a becco / Marosek, org / Szulińska, Siwak, staging / J. Kulka, musical dir.), Partita 2 batt / tape), Little String Litany (2008. (*72. Blumental, cemb / NPO / Markowski; Wrocław Chamber Orch. ‘Leopoldinum’ / *92. 1991 version. Chojnacka, cemb / Kovacic), 3M-H1 (**70. tape), Mazurian Sinfonia Varsovia / Dufallo), Passacaglia Chronicles II, new version (**85. BBC and Rondo (*88. Cracow PO / Levine), Scottish SO / Maksymiuk), Peryn’s Twilight Passio et mors Domini nostri Jesu Christi (75. Ensemble of the Grand Theatre, Poznań secundum Lucam (66. Dorow, sopr / Hiolski, / Meissner, staging / Kulaszewicz, musical bar / Ładysz, bass / Herdegen, recitation / dir.), Scottish Chronicles (*87. BBC Scottish Cracow PO and Choirs / Czyż; 2013. Libor, SO / Maksymiuk), Signals 2 (**95. Sinfonia sopr / Bręk, bar / Klemm, bass / Olbrychski, Varsovia / Maksymiuk), String Play (81. reciter / Warsaw Boys Choir / NPO and choir Polish Chamber Orch. / Maksymiuk); Pennisi, Francesco: The Wild Swans (*94. Platz, Robert HP: Senko Hanabi (*2005. Erard, sopr / Zephir Ensemble / La Licata); Miyata, shô); Perkowski, Piotr: Overture ‘Warsaw’ (56. Podgórska, Ewa: Constans (99. Esztényi, pf), Silesian PO / Skrowaczewski), Nocturne In an Undertone (**2004. Oshiro, cl / Pryn, vn composers / compositions / performers / 1956–2019 (58. NPO / Skrowaczewski); / Waage, vc / Olsson, pf); Perocco, Filippo: reCycle_Lacrimosa POING: see Ratkje, Maja Solveig Kjelstrup (*2006. Sinfonia Varsovia / Hirsch); – Ørjan Matre – Eivind Buene – Christian Persen, John: Ex (*94. Cikada Ensemble / Eggen – POING; Eggen); Pokrzywińska, Maria: Omen (**95. Polish Peszat, Piotr: Interiør i Strandgade Radio Orch. / Rajski), see also Forging (*2014. Lutosławski Orchestra Moderna / the Scythes; Kozłowski), The Artist’s Way (2018. Polish Songs, performance (2006. Ensemble Beethoven Academy Orchestra / Kociuban / of International School of Traditional Music Mart, video), The Message (**2016. in Lublin / Bernad); Grauschumacher Piano Duo / Migas, Pollard, Mark: Carillon for Sacha sound), Water: Miniature no. 3 (**2014. (*94. Harvey, pf); Cracow Music Academy Composition Polonio, Eduardo – Horacio Vaggione: Students / Koczur); IT (*72. Alea, Musica Electronica Libre); Pētersons, Kristaps: Money (*2013. Ponce, Manuel: Concerto pour violon et Ensemble Modern / Heil); orchestre (*58. Szeryng / Polish Radio NSO / Petraškevičs, Jānis: Darkroom. Krenz); Ein Phantasiestück (*2013. Ensemble Pongrácz, Zoltan: Maryphonia (*74. tape); Modern / Heil); Poole, Geoffrey: Wymondham Chants Petrassi, Goffredo: Concerto per flauto (*88. The King’s Singers); e orchestra (*61. Gazzelloni / NPO / Poore, Melvyn: Jay Sea (*2011. students Wisłocki), Concerto per orchestra No. 7 of the Stanisław Staszic Primary School (*66. Orch. RAI Torino / Rossi), Mottetti per No. 171 in Warsaw / Kubiak-Dobrowolska, la Passione (*89. RIAS-Kammerchor / Poore, dir.) Creed), Orationes Christi (*88. Silesian PO Poplausky, Jauhen: Light on the Path (**2000. and Choir / Stryja), Serenata per 5 strumenti The ClassicAvantgarde­ Soloists’ Ensemble / (*60. Cracow Philh. Chamber Orch. / Baidov), My – her (**2005. The Classic- Markowski), Souffle (*2003. Levine, fl); Avantgarde Soloists’ Ensemble / Baidov); Petrić, Ivo: Croquis sonores (**63. Ursić- Poppe, Enno: Arbeit for virtual Hammond organ Petrić, hp / Ansambl ‘Slavko Osterc’ / (*2007. Surberg), Öl (*2006. Polish-German Petrić), Jeux à trois, jeux à quatre (*67. Youth Ensemble / Bohn), Salz (*2007. MB-Zagreb Group / Gjadrov), Trois images Ensemble Mosaic / Poppe); – Concerto pour violon et orchestre (*75. Porębski, Adam – Dariusz Jackowski: Ozim / NPO / Michniewski); @piacere (**2017. interactive installation); Petrov, Andrei: To the Memory of Those Who Posadas, Alberto: Cripsis (*2008.Orquesta Were Killed in the Blockade of Leningrad Sinfónica de Radio Televisión Española / (*68. State Orch. of the USSR, Moscow / Tamayo), Nebmaat (*2011. New Music Orch. Svetlanov), The Master and Margarita / Bywalec); (*87. Leningrad PO / Jansons); Poulenc, Francis: Figure humaine (87. Neue Pękala, Miłosz: Sound Splash Play Vocalsolisten Stuttgart / Schreier), Tel jour / 299 (**2013. Hob-beats Percussion Group); telle nuit (*61. Pears, ten / Britten, pf), Pfrengle, Roland: Felder (**80. Blum, flutes / Trio for Oboe, Bassoon and Piano (58. Perrier Pfrengle, computer and synth), Klaviermusik / Michon / Sabatier); P (*85. Achilles, pf / Pfrengle, live computer Pousseur, Henri: Caractères (*64. Mietelski, sound transformation), SOG (*92. Schmitt, pf), Couleurs croisées (*72. Grand Orch. RTB, fl / tape); Brussels / Hoffman), Ex Dei in Machinam Phan, P. Q.: It Eats You Alive (*2005. Ensemble Memoria (**71. van Tright, ob), Exercises TIMF); pour Piano. Impromptu et Variations II Philippot, Michel: Ambiance I (*59. tape), (*59. Mercenier), Forges from Trois Visages Dixtuor (*64. Ensemble Instr. de Musique de Liège (2009. Miso Music Portugal’s Contemporaine / Simonovitch); Loudspeaker Orch. / Azguime, sound), Phonos ek Mechanes: Układy względnie Ode (*62. LaSalle Quartet), Répons, new odosobnione (**2017. Duchnowski, keyboard version (**65. Ensemble Instr. Musique instruments, computer / Hendrich, electr Nouvelles Bruxelles), Scambi (*58. tape); gtr, computer / Kupczak, vn, computer / Powers, Anthony: A Picture of the World Romańczuk, sound constructions); (**2001. Chance, counter-ten / Pachlewski, Piaček, Marek: Flauto dolce ’91 (96. Piaček, fl / cl / BBC Singers / Joly); tape), Happy Mainstream (**97. Yan, fl a becco Prado, Almeida: Aurora (**75. version for two / Muzyk, hrn); pianos. Muniz and Prado); Piegza, Ryszard: Strenght of Balance PRASQUAL (Praszczałek, Tomasz): Mother (**95. performance); Nature (2004. tape), YMORH (*2010. Pieniek, Grzegorz: Days to come, days gone European Workshop for Contemporary by (**2013. Nopper, m-sopr / Rojko, cl / Music / Bohn); Tomljanovič, gtr); Prehn, Tom: Another Day (**70. Tom Prehn’s Piernik, Zdzisław: see 1) Group of Intuitive Group), In the Daytime the Sun is Shining Music, 2) Górczyński, Michał – Zdzisław in Sahara (*70. Tom Prehn’s Group); Piernik; Prins, Stefan: Fremdkörper #3 (mit Michael Pijper, Willem: Quintet for Wind Instruments Jackson) (*2015. New Music Orch. / Bywalec (*60. Het Danzi Kwintet), String Quartet No. 5 / Olko, sound), Piano Hero #1-4 (*2018. (*62. Holland String Quartet); Ginsburgh, pf and MIDI keyboard / Pintscher, Matthias: dernier espace avec Gonnissen, sound / Bogner, sound introspecteur (2012. TWOgether Duo), programming and engineering / Prins, Hérodiade-Fragmente (*2012. Mikołajczyk, electronics and video editing); sopr / Polish Radio NSO / Vis); Pritchard, Gwyn: Chamber Concerto (*90. Ball, Piñera, Juan: Tres de dos (*84. tape); pf / Uroboros Ensemble / Pritchard), Pironkov, Simeon: Requiem pour un jeune Nephalauxis (*79. Royal Łazienki String homme inconnu (**68. Sofia Chamber Orch. / Quartet / Ptaszyńska, Rutkowski, perc); Kazandjiyev); Procaccioli, Stefano: Madrigal (**94. Piston, Walter: Violin Concerto No. 2 Camerata Silesia / Szostak); (*64. Treger / Pittsburgh SO / Steinberg); Prokofiev, Sergei: Andante, Op. 62, No. 3 (80. Plancton – collective composition by Richter, pf), Concerto No. 5 in G Major, Op. 55 performers (*74. Agitation Free); (*58. Richter / NPO / Rowicki), Dance, Op. 32, No. 1 (80. Richter, pf), Five Poems by Anna Wolak, m-sopr / Esztényi, pf / Skoczyński, Akhmatova, Op. 27 (63. Berberian, m-sopr / perc), Moon Flowers (*86. Jabłoński, vc / Krauze, pf), Flaming Angel, Op. 37 (84. Borucińska, pf), Quodlibet (*77. Turetzky, cb), composers / compositions / performers / 1956–2019 Ensemble of the Grand Theatre, Poznań / Un grand sommeil noir… (*79. Szwajgier, sopr Peryt, staging / Dondajewski, musical dir.), / Świątek, fl / Lutak-Modrini, hp); Four Russian Folk Songs from Op. 104 Puumala, Veli-Matti: Caprifoglio per clarinetto (60. Doloukhanova, m-sopr / Yerokhin, pf), e violoncello (Èdera II) (**98. Kriikku, cl / Gavotte, Op. 95, No. 2 (80. Richter, pf), Karttunen, vc), Chant Chains (*98. Caput Landscape, Op. 59, No. 2 (80. Richter, pf), Ensemble / Gunnarson); Legend, Op. 12, No. 6 (80. Richter, pf), Pyzel, Agata: Two Pieces for Piano Orientalia, Op. 97, No. 6 (80. Richter, pf), (**95. Esztényi); Pastoral Sonatina, Op. 59, No. 3 (80. Richter, Pyzik, Kazimierz: Immersion (**93. Musica- pf), Piano Concerto No. 2 in G Minor, Op. 16 Viva-Ensemble / Wirrmann), Trio in D (*99. (77. Rösel / Gewandhausorchester / Masur), Pyzik, cb / Marosek, org / Szulińska, batt); Piano Concerto No. 5 in G Major, Op. 55 QFWFQ DUO: Andrea Pensado, Greg (*58. Richter / NPO / Rowicki), Romeo and Kowalski: The Initial Dream, performance Juliet, Op. 64, second orchestral suite (*2008), The Memory of a Looking Glass, (56. State Orch. of the USSR, Moscow / interactive installation (**2008); Anosov; 58. Leningrad PO / Mravinsky), Qin, Wenchen: Listen to the Valleys (**2014. Rondo, Op. 32, No. 2 (80. Richter, pf), Scythian Forbidden City Chamber Orchestra / Liu), Suite, Op. 20 (80. Moscow SO / Dudarova), The Cloud River (**2017. Zheng, sheng / NPO Sonata in C Major, No. 9, Op. 103 (80. Richter, / Kaspszyk), Yin Ji (*2014. Sinfonia Varsovia / pf), Sonata No. 1 for Violin and Piano in F Minor, Gazon); Op. 80 (62. Vayman / Karandashova), Song Qu, Xiao-song: Ji#1 ‘Still Valley’ (*2005. Without Words, Op. 35, No. 1 and No. 4 Ensemble TIMF / Bohn); (60. Doloukhanova, m-sopr / Yerokhin, pf), Rääts, Jaan: Concerto for Chamber Orchestra, String Quartet No. 2 in F Major, Op. 92 (61. Op. 16 (*64. Moscow Chamber Orch. / Borodin String Quartet; 72. Prokofiev String Barshay; 71. Lithuanian Chamber Orch. / Quartet), Symphony No. 2 in D Minor, Op. 40 Sondeckis; 81. Moscow Conservatory (*63. The All-Union Radio and TV SO / Chamber Orch. / Terian); Rozhdestvensky), Symphony No. 3 in C Minor, Rabe, Folke: Tintomara (*98. Hardenberger, tr Op. 44 (77. Leningrad PO / Dmitriev), / Lindberg, tbn), see also 1) Bark, Jan – The Buffoon, symphonic suite, Op. 21 bis Folke Rabe, 2) Fatalitäten, 3) New Culture (65. Silesian PO / Stryja), The Dead Field Quartet, The, 4) Parades and Changes; (from the cantata Alexander Nevsky, Op. 78) Racot, Gilles: Exultitudes for saxophones, tape (60. Doloukhanova, m-sopr / Yerokhin, pf), and SYTER (*87. Kientzy / tape / Teruggi); The Fairy of Autumn, Op. 97, No. 3 (80. Richter, Radica, Ruben: Paean (**63. Ansambl ‘Slavko pf), The Quarrel, Op. 102, No. 3 (80. Richter, Osterc’ / Petrić); pf), The Steel Trot, symphonic suite, Op. 41 bis Raditschnig, Klangplatz (*2003. Raditschnig, (*63. Polish Radio NSO / Krenz), The Ugly live electronics); Duckling, Op. 18 (60. Doloukhanova, m-sopr / Radko, Piotr: Threnody (**85. Ljubljana Radio Yerokhin, pf), The Waltz of Cinderella and and TV SO / Salwarowski); the Prince, Op. 102, No. 1 (80. Richter, pf), Radovanović, Vladan: Electra (*77. tape), 300 \ Violin Concerto No. 1 in D Major, Op. 19 (88. Spheroon (*68. tape); Mintz / Cracow PO / Levine), Violin Concerto Radulescu, Horatiu: Dizzy Divinity (*2008. No. 2 in G Minor, Op. 63 (58. Szeryng / Polish Chifu, fl), Khufu’s Serpent V (**2003. P–R Radio NSO / Krenz), Visions fugitives, Op. 22 Ensemble Musiques Nouvelles / Dessy); (63. performed as ballet. Woroniecka, pf / Radzyński, Jan: David (90. Silesian PO / Stryja); Miniature Ballet of the Baltic Opera / Raecke, Hans-Karsten: Aus der Ruhe; Jarzynówna-Sobczak, choreography; In der Zugluft; Raster 2; Raster 5; …so?; *64. orchestration by R. Barshay. Moscow Wassermusik (*80. Klangwerkstatt: Raecke, Chamber Orch. / Barshay; 80. Nos: 3, 4, 5, 6, pf and home-made instruments), Raster 8, 9, 11, 15, 18. Richter, pf), Waltz, Op. 32, (*75. Keller, Lenz, Raecke and Sommer, 2 pf), No. 4 (80. Richter, pf), Zdravitsa, Op. 85 (*63. Verbindungen (*79. Glaetzner, ob / tape); Grand Theatre Choir, Warsaw / The All-Union Raecke, Hans-Karsten – Günther Sommer: Radio and TV SO / Rozhdestvensky); Einklang; Kalamos; Raster No. 2 and No. 3; Prudencio, Cergio: Cantos ofertorios (*2014. …so?; Solo for percussion; Szene aus: Orquesta Experimental de Instrumentos Tagebuchblätter for bamboophones; Nativos / Prudencio); Technische Landschaft; Verbindungen (*77. Przybylski, Dariusz: improvisation (2019. Klangwerkstatt: Raecke, pf, electr org and Przybylski, org); home-made instruments / Sommer, perc); Przybylski, Bronisław Kazimierz: Raes, Gotfried-Willem – Moniek Darge: Asteroides I-V, new version (**81. Warsaw A Book of Moves, fragments (94. Duo Accordion Quintet), A Varsovie (84. Polish Logos); Radio NSO / Wit), Guernica (75. Polish Radio Rai, Takayuki: Transparency (*2002. Bova, hp / NSO / Maksymiuk), The Sleep of Reason tape); (**2008. Barcelona 216 / Martínez-Izquierdo); Raičković, Miloš: Flying Trio (*93. New Warsaw Pstrokońska-Nawratil, Grażyna: Arabesque Trio); (81. Silesian String Quartet), BIS*JOKE (87. Raitchev, Alexander: Symphony No. 2 ‘New Skoczyński, perc / Esztényi, pf), El Condor Prometheus’ (*61. Sofia PO / Ilyev); (96. Pstrokońska-Komar, Wota, 2 mrb / Ramovš, Primož: Enneafonia (**63. Ansambl Polish Radio Chamber Orch. ‘Amadeus’ / ‘Slavko Osterc’ / Petrić), Musiques funèbres Duczmal), Fresco VII – Uru Anna (**99. (*76. Slovene PO, Ljubljana / Nanut), Kusiewicz, T / Polish Radio Choir, Kraków / Simfonija 68 (*73. Polish Radio NSO / Kraków Philh. Choir / Polish Radio NSO / Wisłocki); Vetö), Icarus (**80. NPO / Strugała), Lydian Rands, Bernard: Memo I (*77. Turetzky, cb); Quartet – Thinking of Andrzej (**94. Silesian Raskatov, Alexander: Invitation to a Concert String Quartet), Rain Forest. Concert for two (*88. Mark Pekarsky Percussion Ensemble, flutes and orchestra (2016. Długosz i Kielar- Moscow), Kyrie Eleison (*2005. Sabee, vc), Długosz, 2 fl / NPO / Kaspszyk), Triangle! Litania (**94. Musikfabrik NRW / Kalitzke); (**92. Cracow Percussion Group); Rasmussen, Henrik Ehland: From Pressure Ptaszyńska, Marta: Dream Lands, Magic to Ease (2016. Górczyński, cl); Spaces (*81. Wiłkomirska, vn / Witkowski, pf Ratkje, Maja Solveig Kjelstrup – Ørjan Matre / Warsaw Percussion Group / Maksymiuk), – Eivind Buene – Christian Eggen – POING: La novella d’inverno (*85. Polish Chamber korrespondanzer (**2010. Trio POING / Oslo Orch. / Maksymiuk), Liquid Light (**96. Sinfonietta / Eggen) Rautavaara, Einojuhani: Requiem of Our Times Rentowski, Wiesław: Anagram (**86. Esztényi, (*65. Orch. of the City of Helsinki / Panula); pf), Wayang (**89. instrumental ensemble / Ravel, Maurice: Chansons madécasses (56. Borkowski); Załęska, m-sopr / Peresada, fl / Ciechański, Revueltas, Silvestre: Dos pequeñas piezas composers / compositions / performers / 1956–2019 vc / Nadgryzowski, pf), Daphnis and Chloe serias (*69. Grupo Alea / Gil); (58. Ballet Ensemble and Orch. of the Baltic Reynolds, Roger: Ariadne’s Thread (*96. Opera / Jarzynówna-Sobczak, choreography V. Duda String Quartet / Reynolds, sound), / Latoszewski, musical dir.), Trois poèmes Fantasy for Pianist (**65. Tilbury), Quick Are de Mallarmé (61. Escribano, sopr / Ensemble the Mouths of Earth (*68. XLII World Festival ‘Die Reihe’ / Cerha); of the ISCM. Polish Radio and TV Chamber Rawsthorne, Allan: Theme and Variations for Orch., Katowice / Taverna), The Palace (*84. two violins (59. Dubiska / Umińska); tape), Traces (*81. Esztényi, pf / Kotnowska, Raxach, Enrique: A Rite of Perception (*71. van fl / Klocek, vc / tape), Transfigured Wind No. 4 Tright, ob / tape), Chimaera (*76. Sparnaay, (*86. Aitken, fl / tape), Watershed IV (*96. two b cl / tape), Estrofas (*67. MB-Zagreb Group versions. Schick, perc / Reynolds, sound); / Gjadrov), Inside Outside (*71. Radio PO, Richard, André: Etude sur le carré rouge Hilversum / tape / Hupperts), Opus incertum (*87. Ensemble des Instituts für Neue Musik (*88. Radio Chamber Orch., Hilversum / der SHM, Freiburg / Tamayo); Zender); Rickels, Horst: Partita for Variable Air Raz, Yehezkel: Warsaw – Tel Aviv (**2018. Compression (*94. Rickels & Joop Raz, live electronics); van Brakel, ‘Mercurius Wagen’); REACTABLE / PHONOS EK MECHANES Ricketson, Damien: Trace Elements project, concert / improvisation (*2009. (**2003. Ensemble Offspring); Reactable: Lopez, live electronics / Phonos Riedl, Josef Anton: Epiphyt; Glass-Spiele, ek Mechanes: Duchnowski, computer and pf version I and II (*78. Musik / Film / Dia / / Hendrich, computer and bass gtr / Licht-Galerie / Riedl, staging and dir.), Kupczak, computer and vn); Studie 1961 (*62. tape), Studie 1962 (*63. Regamey, Constantin: Autographe (**66. Orch. tape), see also Klang / Licht / Duft-Spiele; de Chambre de Lausanne / Desarzens), Riehm, Rolf: Die Hochzeit von Saragossa Cinq études pour soprano et orchestre (*59. (**86. Hamburg PO / Zender); Retchitzka / NPO / Wisłocki), 4 x 5. Concerto Riffkin, Steve: see Hendrix, Jim – Steve Riffkin; for four (*70. Polish Radio NSO / Rihm, Wolfgang: Chiffre I (*87. Ensemble Kord), Musique pour cordes (*91. Camerata des Instituts für Neue Musik der SHM, Bern), Poèmes de Jean Tardieu (*64. NP Freiburg / Tamayo), Gesangsstück (**2003. Choir / Kuklewicz), Sonatina for Flute Walter Verdehr Trio), Im Innersten. String and Piano (83. Kotnowska / Halska); Quartet No. 3 (*96. Silesian String Quartet), Rehnqvist, Karin: Davis nimm (*98. Lindholm, Jakob Lenz. Chamber Opera No. 2 (*85. Rosenberg, Christensen, 3 sopr), Jag lyfter Niedersächsische Staatstheater, Hannover / mina händer (**98. Rosenberg, sopr / Drechsel, staging / Lang, musical dir.), Pettersson, alto sax), Lamento – Rytmen av en Klangbeschreibung III (*88. SWF röst (*2000. Silesian PO / Błaszczyk), Rädda Sinfonieorchester Baden-Baden / Gielen), mig ur dyn (*98. Rosenberg, sopr / Pettersson, Klavierstück No. 5 ‘Tombeau’ (*83. Wambach), alto sax), Wings (**98. Helasvuo, fl); Klavierstück No. 7 (*83. Wambach), Reich, Steve: Clapping Music (*77. Music Pol-Kolchis-Nucleus (*2005. Polish-German / 301 Workshop), Different Trains (*92. Kronos Youth Ensemble / Bohn), String Quartet No. 4 Quartet / tape), Drumming (*90. Bałata, (*93. Silesian String Quartet), Stück (2011. Szeremeta, voices / Z. Witkowski, fl picc / Musikfabrik); R Cracow Percussion Group; 97. Parts 1 & 2. Riley, Terry: Dorian Reeds (*73. Group Steve Reich & Musicians), Music for Mallet Intermodulation), In C (*69. Music Instruments, Voices and Organ (*81. Workshop), Keyboard Studies (*68. Krauze, Ensemble 20. Jahrhundert / Burwik; Frémy, Tilbury, 3 pf); 97. Steve Reich & Musicians), Music for Riley, Terry – John Cale: Church of Antrax Piece of Wood (2013. fragments, Hob-beats (*74. Agitation Free); Percussion Group), Music for 18 Musicians Risset, Jean-Claude: Dialogues (*80. (97. Steve Reich & Musicians), New York Tabernacka-Bałauszko, fl / Pacanowski, cl / Counterpoint (2000. version for saxophone Witkowski, pf / Ptaszyńska, perc / tape), quartet: Vienna Saxophone Quartet; 2009. Inharmonique (*77. Szwajgier, sopr / tape), version for clarinet and electronics: Pinto, cl Invisible Irène (2009. Miso Music Portugal’s / Miso Music Portugal’s Loudspeaker Orch. / Loudspeaker Orch. / Azguime, sound), Azguime, live electronics and sound Mutations (*70. tape), Songes (*84. tape), projection), Octet (*81. Ensemble Sud (*87. tape), Pentacle (*2007. Chojnacka, 20. Jahrhundert / Burwik), Three Movements cemb / Risset, sound); (*2006. SO of the Academy of Music Robakowski, Zbigniew – cooperation: in Kraków / Czepiel), Variations for Winds, Wiesław Michalak, Paweł Janicki: Attention: Strings and Keyboards (*89. Poznań PO / Light! 2.0 (for Paul Sharits) (**2010. Michniewski), Vermont Counterpoint audiovisual installation); (86. Aitken, fl / tape), Violin Phase (*81. Robin, Yann: Art of metal I (*2013. Nabicht, Ensemble 20. Jahrhundert / Burwik); cb cl / New Music Orch. / Bywalec); Reimann, Aribert: Solo for Violoncello Rocha, Pedro M.: To a World Free from Beliefs (*84. Boettcher; 91. Bauer), Unrevealed (*2008. Sond’ar-te Electric Ensemble / (*81. McDaniel, bar / Kreuzberger Amaral / Azguime, sound); Streichquartett); Rodgers, John: Ciacco (*2007. Haynes, b cl); Reinholdtsen, Trond: 13 Music Theatre Pieces Roemer, Piotr: Fantasma (**2019. Basel (**2019. Plus-Minus Ensemble / Knoop / Sinfonietta / Brönnimann / Roemer, Bereza, Niedźwiedź, sound); Ø – Episode 6 electronics / Guziołek-Tubelewicz, Vulpen, (*2018. J. Polak, P. Polak, actors / sound), Fire: Miniature no. 1 (**2014. Cracow Spółdzielnia Muzyczna Contemporary Music Academy Composition Students / Ensemble / Reinholdtsen, condcutor and dir. Koczur), Re-Sublimacje (2014. Lutosławski / Szymański, sound); Orchestra Moderna / Kozłowski), Reinvere, Jüri: Northwest Bow / Loodekaar Soneostasis (**2013. Ensemble Phoenix (*2001. Nyyd Ensemble / Elts); Basel / Błażejczyk, sound / Henneberger), Reith, Dirk: nahe zu fern (*92. tape), nested Tango sonore (**2009. tape); loops III (*85. Schulz, perc / Achilles, pf / tape); Rogalski, Teodor: Three Roumanian Dances Re:mix. Reinterpretations of recordings from (56. G. Enescu PO / Basarab); the WA sound chronicle (**2017. Sudnik, Rogiewicz, Jerzy: Exotic Rhythms (**2019. Moretti, Hirt, van Bebber) Rogiewicz, batt); Rojko, Uroš: Godba (2003. D. Prešiček, alto Rudziński, Witold: Musique concertante (**61. sax / N. Prešiček, pf), Izvir (**2007. Aukso / Hesse-Bukowska, pf / Silesian PO / Stryja); Moś), Lakritze (**2013. Nopper, m-sopr / Rudziński, Zbigniew: Campanella (78. Malmö composers / compositions / performers / 1956–2019 Rojko, half-clarinet / Tomljanovič, gui / Percussion Ensemble / Z. Rudziński), Contra Juhart, acc); fidem (**64. Silesian PO / Stryja), Impromptu Román Martinez, Diego: Operetta (**66. Music Workshop / Z. Rudziński), (**2008. Zgas, beatboxer / Kwartludium); Moments musicaux I (**65. Silesian PO / Romanescu, Sorin: Electro State of Mind Stryja), Moments musicaux II (**67. NPO / (*2007. Electric Pro Contemporania); Rowicki), Night Music (**70. Amsterdam Romanowski, Otto: Resonance b (**90. Studenten Kamerorkest / Vriend), Quartet for Toimii Ensemble); Two Pianos and Percussion (*71. Z. Rudziński Romitelli, Fausto: Dead City Radio. Audiodrome and Kvapil / Kieslich and Šatava), Requiem, (*2009. Polish Radio NSO / Kaspszyk), new version (**73. Polish Radio and TV Choir, Domenica alla periferia dell’ impero. Prima Cracow / Polish Radio NSO / Wisłocki), domenica and Seconda domenica: hommage Sonata for Piano (77. Esztényi), Symphony à Gérard Grisey (*2005. Caroli, fl / Śliwa, vn / (**69. NPO and Choir / Krenz), Kalinowski, vc / Cielecki, b cl), Flowing Down The Mannequins (83. Ensemble of the Grand to Slow (*2003. Ensemble Musiques Theatre, Warsaw / Grzesiński, staging / Nouvelles / Dessy), Nell'alto dei giorni Satanowski, musical dir.), Three Songs for immobili (2018. Ensemble Recherche), Tenor and Two Pianos (81. Myrlak / Esztényi Seascape (2012. Petrini, Paetzold fl / and Witkowski), Tritons (**80. Warsaw Olofsson, Błażejczyk, sound), Trash TV Percussion Group), Tutti e solo (74. Trance (2010. Deutsch, electr gtr / Krause, Bojanowska, sopr / Krzywiński, fl / sound); Filiochowski, hrn / Esztényi, pf); Ronchetti, Lucia: Hombre de mucha gravedad Runswick, Daryl: Patents Pending (*2013. Neue Vocalsolisten / Silesian String (*88. The King’s Singers); Quartet), see also Benassi, Elisabetta – Rupociński, Marcin: dCoding John for Lucia Ronchetti; computers (**2009. Laptop Ensemble); Rønsholdt, Niels: Gaze for Gaze (*2019. Urd, Rush, Loren: A Little Traveling Music Willebrords, singers / Cegielska, Dobosik, (*93. Krzanowska, pf / tape); actors / SCENATET / Jensen, light dir. / Ryan, Joel: see Parker, Evan – Joel Ryan; Ørbæk, sound / VRC Choir / Maluga, Rychlik, Jan: Relazioni (*64. Musica viva choirmaster / Rønsholdt, text); Pragensis); Rønsholdt, Niels – Juliana Hodkinson: X & X Rychlik, Józef: Fantasia (**2002. A. Rychlik, (**2017. Aulbert, voice / Walentynowicz, pf); Baroque vn / Bień, Długosz, sound), Roquin, Louis: Scénario (*79. Frémy, pf / Musinelle (76. tape), Symphonic Music II Drouet, perc); (**71. Silesian PO / Taverna); Rosenberg, Hilding: String Quartet No. 8 Ryczek, Mateusz: Katalog chmur (**2018. (*63. Kyndelkvartetten); Zakrzewska, Świgut, 2 pf / Ryczek, video); Rosenberger, Katharina: Rein (*2019. Basel Rydberg, Bo: et je danse (*88. Rondin, vc / tape); Sinfonietta / Brönnimann); Rykova, Elena: 101% mind uploading (*2018. Rosenfeld, Gerhard: Violinkonzert (*65. Black Page Orchestra); Schmahl / Berliner Sinfonie-Orchester / Ryterski, Rafał: Disco Bloodbath (Got to be 302 \ Sanderling); real) (**2018. Black Page Orchestra / Rossem, Andries van: Escape (*89. Asko Froschauer, sound), Saudade. Music Ensemble / Porcelijn), Longen en Tongen of distortions (2017. tape); R–S (*2000. Luijmes, hrm); Rzewski, Frederic: Blues from ‘the Road’ Rossi, Alejandro Iglesias: Ancestral Rites of (*2001. Worms, pf), De Profundis (*2011. a Forgotten Culture (84. Szwajgier, sopr / Rzewski, pf), Etude (*2011. Rzewski, pf), Warsaw Percussion Group), Angelus Les Moutons de Panurge (*72. Music (2008. Okoń-Makowska, Błażejczyk, sound), Workshop and Fistulatores et Tubicinatores Manchay Puitu (**87. Szwajgier, sopr / Varsovienses), Nanosonatas, Book VII Cimoszko, fl / Ptaszyńska, Skoczyński, perc); (*2011. Rzewski, pf), Piano Piece No. 4 Rotaru, Doina: Ielele (*2008. Profil Ensemble / (*88. Mikhashoff), Poem (*63. Rzewski, pf), Soare), L’Ange avec une seule aile – The People United Will Never Be Defeated! Concerto No. 5 (**2010. Caroli, fl / Aukso / (*80. Rzewski, pf), Third Structure (*73. Moś),Umbre No. 2 (**2002. Csendes, vla / Rzewski, pf), To the Earth (*2002. Ondrůšek, Kivu, vc / Anghel, pf); perc / loudspeaker), see also Enkyklopaideia; Roth, Michel: molasse vivante (*2013. Saariaho, Kaija: Cendres (*2003. Ensemble Ensemble Phoenix Basel / Henneberger), Offspring), D’om le vrai sens (*2012. Kriikku, Mr. Wint and Mr. Kidd (*2006. Ensemble cl / NPO / Janiak), Notes on Light (*2007. Phoenix); Karttunen, vc / Polish Radio NSO / de Leeuw), Rotili, Paolo: Novita (**2003. Algoritmo Nymphéa (Jardin Secret III) (*2004. Cikada Ensemble / Angius); String Quartet / Kanding, live electronics), Rouse, Christopher: Phaeton (*98. MDR Oi Kuu (**90. Toimii Ensemble), Solar (*98. Sinfonieorchester / Kalitzke); Avanti! Ensemble / Franck), Verblendungen Roussel, Albert: Quatuor à cordes (*90. Silesian PO / tape / Stryja); (*59. Quatuor Parrenin); Sachs, Eran: see XW Parówek – Eran Sachs Rozbicki, Kazimierz: Lacrimonium in Memory – Seventeen Migs of Springs – Wolfram; of the Victims of Treblinka (94. Malanowicz, Sahl, Michael: Exiles Cafe Tango (*88. org / Sinfonia Varsovia / Nowak); Mikhashoff, pf); Rożynek, Teoniki: Palinopsja (**2018. Rożynek, Sakač, Branimir: Syndromé (*67. MB-Zagreb electronics); Group / Gjadrov; 74. Ansambl Acezantez); Rubenis, Edgars: untitled (**2019. Rubenis, Salazar, Alvaro: Ludi officinales (*81. electronics); Contemporary Music Group of Lisbon); Ruders, Poul: Gong (*2000. Silesian PO / Salmanov, Vadim: String Quartet No. 3 (*67. Błaszczyk), Star-Prelude and Love Fugue Taneyev Quartet), The Old Friend (*69. State (*98. Patrick Jablonski, pf), Thus Saw Saint Academic Choir of the USSR / Sveshnikov); John (*89. Danish Radio SO, Copenhagen / Salmenhaara, Erkki: Quintet for Wind Segerstam); Instruments (*70. Filharmonikernas Blaser, Rudnik, Eugeniusz: ERdada 80/50/39’40” Stockholm), The Face of the Moon (*75. (2017. tape; Wyszkowska, Ptak, sound), Tallinn Chamber Choir / Ratassep); Mobile (73.; 97. tape; 2019.), Nocturne (76. Salva, Tadeáš: Canticum Zachariae tape); (**68. XLII World Festival of the ISCM. Rudolf, Robert: YMRO (**99. Akademos Torbus-Mierzwiakowa, sopr / Polish Radio Quartet); and TV Chamber Orch., Katowice / Taverna); Sanchez-Gutiérrez, Carlos: …Ex Machina nota sola) (*89. Polish Radio and TV SO, (*2010. Banasik, pf / Ślązak, mrb / Polish Cracow / Wyttenbach), Quattro poemi Orch. Sinfonia Iuventus / Gulikers); (*90. Bellocchio, pf), Quays (*2003. Levine, Sánchez-Verdú, José María: Arquitecturas alto fl), String Quartet No. 2 (*89. Berner composers / compositions / performers / 1956–2019 de la ausencia (*2008. Cellonet / Sánchez- Streichquartett), Tre pezzi per trombone solo Verdú), Giorno dopo giorno (*2008. Barcelona (*88. Schiaffini), Uaxuctum. La leggenda della 216 / Martínez-Izquierdo), Libro de las città Maya distrutta da essi stessi per ragioni estancias (*2013. Mena, Ct / Pérès, Arab religiose (2008. Bloch, ondes Martenot / voice / Puente, pf / Camerata Silesia / New Choir of the Podlasie Opera and Music Orch. / Experimentalstudio des SWR / Philharmonic / NPO / Urbański), Sánchez-Verdú / Bywalec), Machaut – Ygghur (*88. Uitti, vc); Architektur II (*2008. Suescun, fl / Domínguez, Schaathun, Asbjørn: A Tabular System for cl / Alexeera, vn / Dmochovsky, vc), Maqbara oboe, harp and percussion (*98. Jahren, ob / (Epitafio para voz y gran orquesta) (*2008. members of Oslo Sinfonietta), Our Whisper Pérès, voice / Polish Radio NSO / Kaspszyk), Woke No Clocks (*94. Karlsson, pf / Cikada Mural (*2015. Janáček Philharmonic Ensemble / Eggen); Orchestra Ostrava / Nagy); Schaeffer, Bogusław: A Multimedia Thing, Sandberg, Lars: I-Skick (*98. Ars Nova / performance (2009. Schaeffer, screenplay, Eikaas); pf / Frąckowiak, Obłoza, Wielgosz, actors / Sandgren, Joakim: lumières-noires Piwowarska, dir. / Kokosza, stage design and (*2013. Hellqvist, vn / Wolniewicz, sound); costumes / Gierłowska, realization), BlueS I Sandström, Jan: Trombone Concerto (81. Ensemble MW2), Codes (**61. Ensemble (98. Lindberg / MDR Sinfonieorchester / ‘Die Reihe’ / Cerha), Concerto for Tape (**69. Kalitzke), Trumpet Concerto No. 2 (*98. tape), Congruences II (94. Pilch, perc / Hardenberger / Swedish Radio SO / Schaeffer, pf / Chołoniewski, electronics), Swensen); Experimenta (72. Mietelski, 2 pf / Grand Orch. Sani, Nicola: Il binari del tempo RTB, Brussels / R. Czajkowski), Extrema (**2003. Levine, cb flute / tape); (91. instrumental ensemble / Nowakowski), Santoro, Claudio: 3 Abstraçoes Heraklitiana (**71. Mazurek, hp / tape), (*70. Polish Radio NSO / de Carvalho); Interview (83. Stuhr, vn), Matan (89. Cracow Sansom, Chris: Son of the Bebop Variations Percussion Group), Missa elettronica (**76. (*98. Hardenberger, tr / Lindberg, tbn / Poznań Boys’ Choir / tape / Kurczewski), tape); Model III (**64. Kaczyński, pf), Musica ipsa Sarhan, François: Situation 13 (2018. (**62. Polish Radio NSO / Krenz), Music for Zakrzewska, Świgut, Ryczek, performance); Tape (74. tape), Non-stop (2017. Spółdzielnia Sári, József: Five Sound Patterns (*96. Muzyczna Contemporary Ensemble), Out of Componensemble); Tune II (81. Ensemble MW2), Musique pour Sarwas, Jakub: Crépuscule du soir mystique orchestre d’instruments à cordes (**2006. (**2014. Madejska, sopr / New Music Orch. / Polish Radio Chamber Orch. ‘Amadeus’ / Bywalec), …quia fortis est ut mors dilectio Duczmal), Proietto (79. Pędziałek, ob and Eh dura sicut inferus aemulatio… (**2000. Gruca, / tape), Proietto simultaneo (**84. Szwajgier, sopr / Silesian PO / tape / Błaszczyk); sopr / Stuhr, vn / Grodecki, pf / Pędziałek, Sáry, László: Drop by Drop (*75. Kocsis, ob and Eh / Pituch, sax / Chołoniewski, Sáry, 2 pf), Omphale’s Spinning Wheel (*96. electronics), Quartet for 4 Actors (81. / 303 Amadinda Percussion Group), Pebble Playing Ensemble MW2), Quartet for Oboe and String in a Pot (*89. Amadinda Percussion Group); Trio (78. Cracow Oboe Quartet), Romuald Satie, Erik: Danses gothiques, Gnossiennes, Traugutt – Harmonies and Counterpoints II S Prélude de la Porte héroique du Ciel (74. (**77. NPO / Michniewski), SG Quartet de Leeuw, pf), Vexations (*74. de Leeuw, (**70. Music Workshop), Sinfonietta (**97. Marchwiński, Słowiński, Witkowski and Moscow Contemporary Music Ensemble / Esztényi, pf); Vinogradov), Small Symphony: Scultura (**65. Saunders, Rebecca: Alba (*2019. Blaauw, tr / Poznań PO / Markowski), Solo: Conglomerate Polish Radio NSO / Bancroft / Okoń- (88. Pilch, perc), Symphony: Electronic Music Makowska, Kunda, sound), a visible trace (*68.; 87. tape), tentative music (**2004. (*2011. European Workshop for Polish-German Youth Ensemble / Bohn), Contemporary Music / Bohn), Fletch (*2013. Tertium datur (**60. Chmielecka, cemb / Silesian String Quartet), Skin (*2017. Cracow Philh. Chamber Orch. / Markowski), Freszel, sopr / New Music Orch. / Bywalec); Theme: Electronic Music (78. tape), TIS MW-2 Savouret, Alain: Etude, numérique, aux (66. Ensemble MW2), Topofonica (**89. syllabes (*87. tape), La Trans-Solitaire (2009. Danish Radio SO, Copenhagen / Segerstam), Miso Music Portugal’s Loudspeaker Orch. / Trio (99. Ratusińska, fl / Wojciechowska- Azguime, sound); Voss, vla / Lieske, gtr), Trio for Flute, Viola, Saxton, Robert: Chamber Symphony: Harp and Tape (*67. Warsaw Harp Trio / The Circles of Light (*89. London Sinfonietta / tape), Violin Concerto No. 4 (**2003. Stadler / Masson), Songs, Dances and Elipses (*99. Österreichisches Ensemble für Neue Musik Kreutzer Quartet); / Kiradjiev), Voice, Noise, Beuys, Choice (**84. Saygun, Ahmed Adnan: Piano Concerto, Op. 34 Szwajgier, sopr / Stuhr, vn / Grodecki, pf / (*84. Onay / The Presidential SO, Ankara / Pędziałek,ob and Eh), Warsaw Overture Aykal); – Harmonies and Counterpoints I (**75. NPO / Scagliola, Francesco: D’improvviso (*2002. Michniewski); Lomuto, tbn / tape); Schaeffer, Pierre: Bidule en ut (*59. tape), Scales and Arpeggios: Krzysztof Szwajgier Cinq Etudes de bruits (2012. tape), Etude about keyboards (2010. lecture); aux objets (*59. tape), Etude violette Scelsi, Giacinto: Aion (*89. Polish Radio and (96. tape), Variations sur une flûte mexicaine TV SO, Cracow / Wyttenbach), Anâgâmin (*96. (*59. tape); Polish Radio Chamber Orch. ‘Amadeus’ / Schaeffer, Pierre – Pierre Henry: Symphonie Duczmal), Anahit (*89. Fournier, vn / Polish pour un homme seul (*59. tape; *67. new Radio and TV SO, Cracow / Wyttenbach; version. tape); 2015. Sławek, vn / European Workshop for Schafer, R. Murray: La testa d’Adriane Contemporary Music / Bohn), Hurqualia (*90. (84. Szwajgier, sopr / Pater, acc), Son Silesian PO / Stryja), Ko-Lho (*86. Ruggieri, fl of Heldenleben (*79. NPO / tape / Wit); / Teodoro, cl), Konx-Om-Pax (*89. Polish Schäfer, Sabine: TopoPhonie No. 3 Radio and TV SO and Choir, Cracow / (**96. installation); Wyttenbach), Natura Renovatur (*96. Polish Schat, Peter: Canto general (*76. Kerstens, Radio Chamber Orch. ‘Amadeus’ / Duczmal), m-sopr / Beths, vn / de Leeuw, pf), De Hemel Pwyll (*2003. Levine, fl), Quattro pezzi (su una (*93. Silesian PO / Swoboda); Schedl, Gerhard: Concerto da camera (*2003. Orch. of the Old and Contemporary Music / Österreichisches Ensemble für Neue Musik Serov), Bläserquintett, Op. 26 (*60. Het Danzi / Kiradjiev), Nachtstück (**83. Wind Quintet Kwintet), Drei Klavierstücke, Op. 11 (71. composers / compositions / performers / 1956–2019 of the Polish Radio and TV, Katowice); Zykan; 77. Pollini), Drei kleine Stücke für Scheller, Przemysław: Yiri (2014. Scheller, Kammerorchester, Op. posth. (*60. Cracow didgeridoo, live electronics); Philh. Chamber Orch. / Markowski; 77. Schenker, Friedrich: Hörstück mit Oboe (79. Ensemble 20. Jahrhundert / Burwik), Glaetzner, ob / tape), Interludia (*73. Trexler, Drei Satiren, Op. 28 (*63. Cracow Philh. Choir sopr / Gruppe Neue Musik Hanns Eisler / / Bok), Erwartung, Op. 17 (65. Cartis, sopr / Pommer), Solo-duo-trio (*85. Trio Aulos), Roumanian Film Studios Orch. / Bugeanu), Versuche über Roswitha (*73. Trexler, sopr / Friede auf Erden, Op. 13 (86. Schola tape); Cantorum Gedanensis / Camerata Vistula / Schiaffini, Giancarlo: Eufonia (*88. Schiaffini, Łukaszewski), Fünf Klavierstücke, Op. 23 (71. tbn / tape); Zykan; 77. Pollini), Fünf Orchesterstücke, Op. 16 Schiavo, Leonardo: A poco a poco (60. NPO / Rowicki; 72. NPO / Markowski; (*2012. Polish Radio NSO / Vis); *90. arr. for 12 instr. by F. Greissle. Schleiermacher, Steffen: Kreon Schönberg Ensemble / de Leeuw; 2001. (*93. Musica-Viva-Ensemble / Wirrmann); NPO / Strugała), Fünfzehn Gedichte aus Schlünz, Annette: Fadensonnen (*2004. Stefan George ‘Das Buch der hängenden Polish-German Youth Ensemble / Bohn), Gärten’, Op. 15 (75. Trexler, sopr / Ortner, pf), Traumkraut (*2003. Polish-German Youth I. Kammersinfonie, Op. 9 (*70. orch. version. Ensemble / Bohn); Polish Radio NSO / de Carvalho; 90. Schnebel, Dieter: Beethoven-Sinfonie Schönberg Ensemble / de Leeuw; 90. arr. for (*90. Camerata Vistula / Borkowski), 5 instr. by A. Webern. Uroboros Ensemble / Choralvorspiele I/II (*75. Zacher, org / Pritchard), II. Kammersinfonie, Op. 38 (78. instrumentalists of the Academy of Music, Radio Kamerorkest Hilversum / Bour), Warsaw / tape), Dahlemer Messe (*91. Klavierstück, Op. 33a (71. Zykan), Konzert Whittlesey, sopr / Schiml, alto / Gärtner, ten für Klavier und Orchester, Op. 42 (*56. / Widmer, bass / Szathmáry, org / RIAS- Brendel / Wiener Symphoniker / Gielen), Kammerchor / Südfunk-Chor Stuttgart / Konzert für Violine und Orchester, Op. 36 SWF Sinfonieorchester Baden-Baden / (72. Szreder / Rundfunk-Sinfonieorchester, Peskó), Für Stimmen (…missa est) (*72. Leipzig / Kegel), Moderner Psalm, Op. 50c Schola Cantorum Stuttgart / Gottwald), :! (*58. Bardini, recitation / NPO and Choir / (madrasha 2) (85. Chor des Süddeutschen Rowicki), Moses und Aaron (*64. fragments, Rundfunks / Franz), Maulwerke (*78. concert performance. Nikodem, ten / Ensemble Berliner Festwochen und Szalawski, recitation / NPO and Choir / Hochschule der Künste / Schnebel, musical Rowicki; *80. Deutsche Oper am Rhein / dir.), Wagner-Idyll (*84. Januszewska, sopr / Reinhardt, staging / Wich, musical dir.), Ode instrumental ensemble / Gawroński); to Napoleon, Op. 41b (*67. Kraak, recitation / Schnittke, Alfred: Concerto grosso (*78. Hartsuiker, pf / Gaudeamus String Quartet), Kremer, Grindenko, 2 vn / Lithuanian Pelleas und Melisande, Op. 5 (*74. Rundfunk- Chamber Orch. / Domarkas), Concerto Sinfonieorchester, Berlin / Rögner), Pierrot grosso No. 4 / Symphony No. 5 (*90. Polish lunaire, Op. 21 (61. Escribano, recitation / 304 \ Radio NSO / Wit), Concerto No. 2 for Violin Ensemble ‘Die Reihe’ / Cerha; 69. Thomas, and Chamber Orchestra (*2001. Krasko / recitation / The Pierrot Players; 91. Sukowa, Moscow PO / Simonow), Concerto No. 3 Sprechgesang / Schönberg Ensemble / S for Violin and Orchestra (*80. Kagan / de Leeuw; 2012. Zubel, reciter / New Music Instrumental Ensemble of Moscow Orch. / Bywalec / Chwedorzewska, Conservatory / Nikolayevsky), Dialogue direction), Prelude to a Genesis, Op. 44 (*78. (**67. Ciechański, vc / Instrumental NPO and Choir / Strugała), Sechs kleine Ensemble of NP / Dobrzyński), Music for Klavierstücke, Op. 19 (63. performed as Piano and Chamber Orchestra (**65. Utrecht ballet. Woroniecka, pf / Miniature Ballet / Poznań PO / Krzemieński), Pianissimo (*70. of Baltic Opera / Jarzynówna-Sobczak, Czechoslovak Radio SO / Nohejl), Polyphonic choreography; 77. Pollini, pf), Sommermüd; Tango (*85. Bolshoi Orch. Soloists, Moscow / Tot (from Op. 48) (*58. Rehfuss, bar / Lazarev), Sonata for Cello and Piano (*79. Nadgryzowski, pf), IV. Streichquartett, Op. 37 Monighetti / Słowiński), String Trio (*87. (*59. Quatuor Parrenin), Streichtrio, Op. 45 Livschitz Trio), String Quartet No. 3 (*90. (*63. members of Kyndelkvartetten; 91. Auryn-Quartett), Symphony No. 3 (*86. NPO / Deutsches Streichtrio), String Quartet No. 2 Kord), Three Scenes (*85. Lee, sopr / Bolshoi (*93. Bryn-Julson, sopr / Wilanów String Orch. Soloists, Moscow / Lazarev); Quartet), Suite, Op. 29 (*62. Melos Schoeller, Philippe: Vertigo Apocalypsis Ensemble), Variationen für Orchester, Op. 31 (**97. Südfunk-Chor, Stuttgart / Ensemble (*64. Silesian PO / Stryja; 76. Slovene PO, InterContemporain / Manson); Ljubljana / Michniewski), Variationen über Schoenenberg, Detlev: see Christmann, ein Rezitativ für Orgel, Op. 40 (*80. Zacher), Günter – Detlev Schoenenberg […]; Verklärte Nacht, Op. 4 (81. Polish Chamber Schoenfield, Paul: Boogie-Woogie for piano, Orch. / Maksymiuk); four-hands (*96. Seltzer and Sachs); Schottstaedt, William: Leviathan (*94. tape); Schöllhorn, Johannes: Niemandsland Schreker, Franz: Kammersymphonie (*81. (*2015. European Workshop for Ensemble 20. Jahrhundert / Burwik); Contemporary Music / Bohn); Schubert, Alexander: Point Ones (*2017. Schönbach, Dieter: Canzona da sonar III Spółdzielnia Muzyczna Contemporary (**67. Vetter, fl a becco / Krauze, pf / tape), Ensemble / Rusowicz / Peszat, electronics), Canzona da sonar V (*71. Henius, sopr / tape Sensate Focus (*2017. Decoder Ensemble / / projectors / instrumental ensemble / Bereza, Kunda, sound); Schönbach, musical dir.), Lyrische Gesänge II. Schulhoff, Erwin: Sonata Erotica (*62. Henius, sopr / Krauze, T. Sikorski, 2 pf), (*2017. Aulbert, voice); Orchesterstück III. ‘Pour Varsovie’ (**63. Polish Schuller, Gunther: Seven Studies on Themes of Radio NSO / Krenz), see also Enkyklopaideia; Paul Klee (*64. Pittsburgh SO / Steinberg), Schönberg, Arnold: A Survivor from String Quartet No. 1 (*62. LaSalle Quartet); Warsaw, Op. 46 (*58. Lidecke, recitation / Schumacher, Federico: Print…? (*2008. Rundfunk-Chor und Sinfonieorchester, Okoń-Makowska, Błażejczyk, sound); Leipzig / Kegel; 74. Herdegen, recitation / Schuman, William: String Quartet No. 3 NPO and Choir / Krenz), Begleitungsmusik (*58. Juilliard String Quartet); zu einer Lichtspielszene, Op. 34 (*61. Cracow Schurig, Wolfram G.: Gespinnt (*93. PO / Markowski; 79. Leningrad Chamber Musica-Viva-Ensemble / Wirrmann); Schüttler, Martin: schöner leben 3 („Girl You voice, performans / Walentynowicz, pf / Know It’s True” – M.V.) (*2018. Black Page Pietrowiak, direction / Pasiecznik, concept, Orchestra / Froschauer, sound); programme / Guziołek-Tubelewicz, sound); Schwartz, Francis: Songs of Loneliness Serocki, Kazimierz: Ad libitum (*77. two composers / compositions / performers / 1956–2019 (*96. Continuum); versions. NDR Sinfonieorchester / Krenz; Schwehr, Cornelius: Schatten for string 84. Polish Radio NSO / Wit), A piacere quartet and double bass (*87. Ensemble (**63. Rzewski, pf), Arrangements (*78. des Instituts für Neue Musik der SHM, version for two recorders: Höller and Freiburg); Pałkowski; version for four recorders: Schwitters, Kurt: Gedicht 25 – Elementar Höller, Pałkowski, Schneider and Seher; (*74. Ensemble 4’33’’); 2015. version for 2 recorders. Iwaszkiewicz Sciarrino, Salvatore: Ai limiti della notte and Nahajowski), Concerto alla cadenza per (*88. Uitti, vc), Autoritratto nella notte flauto a becco e orchestra (*75. Pałkowski / (*2003. Sinfonia Varsovia / Rivolta), Berceuse NPO / Markowski), Continuum (*72. (*71. Silesian PO / Taverna), Cantiere del Les Percussions de Strasbourg), Dramatic poema (*2012. Radziejewska, m-sopr / Aukso Story (**71. Radio PO, Hilversum / / Moś), Canzona di ringraziamento (*88. Markowski), Episodes (**60. NPO / Wisłocki; Fabbriciani, fl), Come vengono prodotti gli 97. NPO / Krenz), Eyes of the Air (60. incantesimi? (*88. Fabbriciani, fl), Due Nendick, sopr / Bennett, pf; 64. Dorow, sopr / smarrimenti (*2004. van der Poel, sopr / NPO / Wisłocki), Fantasia elegiaca Thürmchen Ensemble / Oña), Esplorazione (*73. Welin, org / Sinfonie-Orchester del bianco 1 (*2000. Scodanibbio, cb), Fra des Hessischen Rundfunks, Frankfurt / i testi dedicati alle nubi (*2003. Levine, fl), Markowski; 2007. Szlaużys, org / Polish Infinito nero (*2016. Asmussen, Mzs / Radio NSO / de Leeuw), Forte e piano Scenatet / Munakata / Sciarrino, libretto / (*70. Duo Kontarsky, 2 pf / Kölner-Rundfunk- Lixenberg, dir. / Jensen, light / Øbro, video / Sinfonie-Orchester / Gielen; 2000 R. and Lixenberg, Christensen, stage design / Z. Ibelhauptas, 2 pf / Polish Radio NSO / Andresen, Henriksen, costumes), Tamayo), Impromptu fantasque (*74. Introduzione all’oscuro (*94. Zephir Ensemble instrumentalists of NP, the Grand Theatre / La Licata; 2016. European Workshop for and the Academy of Music, Warsaw / Krenz; Contemporary Music / Bohn), L’addio 91. instrumental ensemble / Nowakowski), a Trachis (*2002. Bova, ar), Lo spazio inverso Musica concertante (*58. Silesian Philh. (*86. Ex Novo Ensemble di Venezia), Luci Chamber Orch. / Markowski), Niobe (**66. mie traditrici, opera (*2016. Radziejewska, Rysiówna and Łomnicki, recitation / NPO sopr / Monowid, counter-alt / Zapiór, ten / and Choir / Wisłocki), Phantasmagoria Janda, bar / Spółdzielnia Muzyczna (76. Woodward, pf / Rutkowski, perc; 2002. Contemporary Ensemble / Krych / Sciarrino, Steffes-Holländer, pf / Dierstein, perc), libretto / Partum, dir. / Maciejewska, stage Pianophonie (*79. Esztényi, pf / Polish Radio design / Zamojski, video / Dmochowska- NSO / Experimentalstudio der Heinrich- Sławiec, stage motion), Omaggio a burri Strobel-Stiftung des Südwestfunks / Wisłocki; (2014. Riis-Jensen, vn / Navasse, fl / Wright, 88. Esztényi, pf / SWF Sinfonieorchester cl), Quaderno di strada (*2006. Katzameier, Baden-Baden / Experimentalstudio bar / Algoritmo Ensemble / ‘Muzyka der Heinrich-Strobel-Stiftung Centrum’ Orch. / Angius), Rondo (*77. Polish des Südwestfunks / Gielen; 2014. Kośmieja, / 305 Chamber Orch. / Maksymiuk), Shadow of pf / Kęska, electronics / NPO / Kaspszyk / Sound (2016. Polish Radio NSO / Pomàrico), Okoń-Makowska, sound), Poetries (**69. Sonata for Two Pianos (*79. Canino and Dorow, sopr / Instrumental Ensemble of S Ballista); the Grand Theatre, Warsaw / Krenz; 81. Scipio, Agostino Di: Impulse Response Study Betley, sopr / Polish Radio NSO / Kaspszyk), (Audible Ecosystemics nr 1) (*2019. Di Scipio, Segmenti (*62. Cracow PO / Markowski), computer, programming / Czechowicz, Ptak, Sinfonietta (56. Polish Radio NSO / Krenz), sound), Os, oris (schizzi dell’aria che manca) Swinging Music (80. Music Workshop), (**2002. Lomuto, tbn / Scagliola, computer); Symphonic Frescos (*64. Polish Radio NSO / Scodanibbio, Stefano: Voyage That Never Ends Krenz; 86. State SO of the Korean People’s (*2000. Scodanibbio, cb); Democratic Republic / Kim Byung Hwa; Sculthorpe, Peter: Jabiru Dreaming 2013. Polish Radio NSO / Liebreich), (*92. Kronos Quartet); The Heart of Night (**58. Rehfuss, bar / Searle, Humphrey: Suite for Clarinet and Piano Nadgryzowski, pf); (*58. Kurkiewicz / Szamotulska); Seventeen Migs of Spring: see XW Parówek Segerstam, Leif: Symphony No. 101 – Eran Sachs – Seventeen Migs of Springs (**2004. Taipei PO); – Wolfram; Sehin, Bohdan: *** for violin, cello and piano Shared Spaces – Darmstadt / Warszawa: (*2005. The Classic-Avantgarde Soloists’ improvised music (2004. Dierksen, tbn / Ensemble); Dörner, tr / Fussenegger, cb / Hübsch, tb / Seiber, Mátyás: Divertimento for Clarinet and Jędrzejewska, live electronics, performance String Quartet (*62. Melos Ensemble); audio & video / Jędrzejewski, vc and live Seidl, Hannes – Daniel Kötter Freizeitspektakel electronics / Knittel, live electronics / music theatre (*2011. Neue Vocalsolisten Kochan, drums and batt / Molinari, cl / Stuttgart / Seidl, Kötter, stage design, video Oberg, pf / Pierończyk, sax and zoucra / and text editing); Weiss, sax / Wingold, gtr / Zubel, voice / Sekii, Naomi: Sinfonia delle ombre Goerke, literary activities); (**2001. NPO / Salwarowski); Shchedrin, Rodion: Four Songs with words Šenk, Nina: Twenty in Five (*2013. Haller, by A. Tvardovsky (*69. State Academic Choir reciter / Ensemble Modern / Heil); of the USSR / Sveshnikov), Frescos of Serei, Zsolt: Seven Minutes for Twenty Years Dionysius (*85. Bolshoi Orch. Soloists, (*96. Componensemble / Serei); Moscow / Lazarev), Ozorniye Chastoushky Sergeyeva, Tatyana: Concerto for Double Bass (*63. The All-Union Radio and TV SO / and Orchestra (*81. Lavrova / Moscow Rozhdestvensky), Piano Concerto No. 2 (*68. Conservatory Chamber Orch. / Terian); Petrov / State Orch. of the USSR / Svetlanov), Série Rose – concert with pieces: Pierre Self-Portrait (*86. Georgian SO, Tbilisi / Jodlowski Série Rose, Johannes Kreidler Kakhidze), Symphony No. 2 (*70. The All- London, Jennifer Walshe (your name here), Union Radio and TV SO / Rozhdestvensky), Juliana Hodkinson, Niels Rønsholdt X & X, Willow (*69. State Academic Choir of Brigitta Muntendorf Public Privacy #5 Aria, the USSR / Sveshnikov); Sonata Erotica, Laurie Shchetynsky, Alexander: Chamber Symphony Anderson Langue d’amour (**2017. Aulbert, (**2006. Polish-German Youth Ensemble / Bohn), Face to Star (*97. Moscow Tallinn Chamber Choir / Ratassep), Contemporary Music Ensemble / The Anti-Formalist ‘Rayok’ (*90. Konarowski, Vinogradov); narrator / Gałka, Liszkowski, 2 basses / composers / compositions / performers / 1956–2019 Shea, David: Chamber Symphony No. 2 Skrla, Mechliński, 2 bar / Warsaw Chamber (*2003. Ensemble Musiques Nouvelles / Opera Choir / Esztényi, pf / Dziewulska, Dessy); staging / Jarosiewicz, design), The Nose, Shebalin, Vissarion: Concertino for Violin and Op. 15 (*64. fragments, concert performance. String Orchestra (*74. Agaronian / Armenian Kossakowska, sopr / Grychnik, ten / Klimek, Chamber Orch. / Saakianc); bar / Kossowski, bass / Polish Radio NSO / Shenderov, Anatoli: Chamber Symphony No. 2 Krenz; *76. Moscow Chamber Opera / (*78. Lithuanian Chamber Orch. / Domarkas); Pokrovsky and Kuznetsov, staging / Sheng, Bright: H’un (Lacerations): In Memoriam Rozhdestvensky, musical dir.), Two Pieces for 1966–76 (*94. Sinfonia Varsovia / Nowak); , Op. 11 (74. Armenian Chamber Shepp, Archie: Fire Ballet (*69. Ballet-Théâtre Orch. / Saakianc), Two Russian Folk Songs, Contemporain, Amiens / Macdonald, Op. 104 (*69. State Academic Choir of choreography / music from tape); the USSR / Sveshnikov), Violin Concerto No. 1 Shibata, Minao: Yugaku (*77. Tokyo in A Minor, Op. 99 (*56. D. Oistrakh / State Metropolitan SO / Watanabe); Orch. of the USSR / Anosov; 70. Michlin / Shimoyama, Hifumi: Fumon V (**92. The All-Union Radio and TV SO / instrumental ensemble / tape / Kręgielewski); Rozhdestvensky), Violin Concerto No. 2 Shin, Soo Jung: Kammerviolinkonzert Nr 2 ‘ in C Sharp Minor, Op. 129 (83. Zhislin / Aus der Leere’ (**2005. Bąkowski, vn / Leningrad PO / Jansons); Ensemble TIMF / Bohn); Shostakovich, Dmitri – Krzysztof Meyer: Shinohara, Makoto: City Visit (*83. tape), Play The Gamblers (*83. Wuppertaler Bühnen / (*2000. The ClassicAvantgarde­ Soloists’ Meyer-Oertel, staging / Schick, musical dir.); Ensemble / Baidov), Tayutai (*81. Artysz, Sibelius, Jean: Symphony No. 7 (65. Orch. of bar / Shinohara, koto), Visions (*66. tape); the City of Helsinki / Panula), The Autumn Shostakovich, Dmitri: Cello Concerto No. 1 Evening; Luonnotar (*65. Välkki, sopr / Orch. in E Flat Major, Op. 107 (*60. Rostropovich / of the City of Helsinki / Panula); NPO / Rowicki), Cello Concerto No. 2 in G Minor, Sidorenko, Lubava: Games (**2017. Ensemble Op. 126 (80. Monighetti / Moscow SO / Nostri Temporis), Metabola (**2007. Polish- Dudarova), Chamber Symphony, Op. 110 bis German Youth Ensemble / Bohn); (71. Lithuanian Chamber Orch. / Sondeckis), Siegel, Wayne: Watercolor, Acrylic, Watercolor Execution of Stepan Razin, Op. 119 (*66. (*84. Vestjysk Kammerensemble); Gromadsky, bass / Choir of the RFSRR / Sielicki, Edward: Agnus Dei (*83. Ars Antiqua / Moscow PO / Kondrashin), Katerina Jaśkiewicz), Luxuria (**93. Silesian PO / Ismailova, Op. 114 (65. Ensemble of Swoboda), Paralipomenon (88. tape), the Grand Theatre, Poznań / Baduszkowa, Polymorphic fantasy (**2000. Luijmes, hrm / staging / Satanowski, musical dir.), Piano tape), String Quartet (90. Silesian String Concerto No. 1 in C Minor, Op. 35 (59. Quartet); Szymonowicz / NPO / Rowicki; 73. Dikov / Sierra, Roberto: Con salsa (*96. Tiensuu, Bulgarian Radio and TV SO / Stefanov), cemb), Ritmorroto (*96. Gresham, cl); Seven Poems by Alexander Blok, Op. 127 (75. Sigurbjörnsson, Thorkell: Kalaïs (*86. 306 \ Miroshnikova, sopr / Iwanow, vn / Wróbel, vc Aitken, fl); / Witkowski, pf), Sonata for Viola and Piano, Sikora, Elżbieta: Concerto for Piano and Op. 147 (*80. Bashmet / Richter), String Orchestra No. 1 – Hommage à Frédéric Chopin S Quartet No. 1 in C Major, Op. 49 (65. State (*2001. Bavouzet / Polish Radio NSO/ Lithuanian Quartet), String Quartet No. 2 Chmura), Journey II (76. tape), La Tête in A Major, Op. 69 (75. Wilanów String d’Orphée II (*88. Kotnowska, fl / tape), Quartet), String Quartet No. 3 in F Major, Le Chant de Salomon (2007. Mikołajczyk, Op. 73 (67. Taneyev Quartet; 72. Prokofiev sopr / Israel Contemporary Players / Nagy), Quartet), String Quartet No. 4 in D Major, Rappel II (*89. Poznań PO / Sikora, sound Op. 83 (*63. Komitas Quartet; 65. State transformation / Michniewski), Shadows Lithuanian Quartet), String Quartet No. 5 (**90. NPO / Tabachnik), Suite (97. Klocek, vc in B Major, Op. 92 (*59. Beethoven Quartet), / tape), Suite II (*92. Chojnacka, cemb / tape), String Quartet No. 6 in G Major, Op. 101 The Heartsnatcher (**95. Grand Theatre, (*59. Beethoven Quartet), String Quartet Warsaw / Treliński, staging / Michniewski, No. 7 in F Sharp Minor, Op. 108 (*61. Borodin musical dir.), see also Group KEW and String Quartet), String Quartet No. 8 Forging the Scythes; in C Minor, Op. 110 (*61. Borodin String Sikorski, Kazimierz: Concerto for Clarinet and Quartet), Suite from the opera ‘Lady Macbeth Orchestra (67. Dymitrov / Slovak PO / Rajter), of Mtsensk’ (Katerina Ismailova) (*62. Concerto for Flute and Orchestra (58. Bojanowska, sopr / Pomeranian PO / Tomaszczuk / Polish Radio NSO / Krenz), Chwedczuk), Symphony No. 1 in F Minor, Concerto for Trumpet and Orchestra (62. Op. 10 (77. Gewandhausorchester / Masur), Hadryś / Pomeranian PO / Chwedczuk), Symphony No. 4 in C Minor, Op. 43 (83. Polyphonic Concerto for bassoon and Leningrad PO / Jansons), Symphony No. 6 orchestra (**66. Lemiszka / Orch. RAI Torino in B Minor, Op. 54 (65. Berliner Sinfonie- / Markowski), Symphony No. 3 (56. State Orchester / Sanderling; 67. Cracow PO / Orch. of the USSR / Anosov), Symphony No. 5 Czyż), Symphony No. 8 in C Minor, Op. 65 (62. (**80. Silesian PO / Michniewski), Symphony Polish Radio NSO / Krenz), Symphony No. 10 No. 6 (**85. The Presidential SO, Ankara / in E Minor, Op. 93 (*56. NPO / Wodiczko; Aykal); 68. State Orch. of the USSR / Svetlanov; 87. Sikorski, Tomasz: Adventures of Sindbad Leningrad PO / Jansons), Symphony No. 11 the Sailor (2011. from tape / Błażejczyk, ‘1905’ in G Minor, Op. 103 (*58. Leningrad PO sound / Orlicki, visual setting), Antiphons / Mravinsky), Symphony No. 13, Op. 113 (*85. (**63. Nendick, sopr / T. Sikorski, pf / Mróz, bass / Basses of the Silesian Philh. Palczewski, hrn / Czerwiński, perc / tape), Choir and Cracow Radio and TV Choir / Concerto breve (**65. T. Sikorski, pf / Silesian Polish Radio NSO / Wit), Symphony No. 14 PO / Stryja; 89. Esztényi, pf / Warsaw Radio in G Minor, Op. 135 (73. Woytowicz, sopr / Philh. / Nowakowski), Das Schweigen Mróz, bass / NPO / Rowicki; 91. Kasrashvili, der Sirenen (nach Kafka) (87. Monighetti, vc), sopr / Tesarowicz, bass / Sinfonia Varsovia / Diaphony (89. Esztényi, Knapik, 2 pf), Penderecki), Symphony No. 15 in A Major, Diario (97. tape), Euphony (*86. Esztényi, pf), Op. 141 (*72. Polish Radio NSO / Kord), Ten For Strings (2001. Aukso / Moś), Holzwege Poems, Op. 88 (*69. State Academic Choir of (**72. NPO / Markowski), Homophony the USSR / Sveshnikov; 75. poem No. 7. (**70. Polish Radio NSO / de Carvalho; 89. Warsaw Radio Philh. / Nowakowski), Skrowaczewski, Stanisław: Chamber Hymnos (*81. T. Sikorski, pf; 89. Esztényi, pf; Concerto (Ritornelli poi ritornelli) (*96. NPO / 93. Rosenberg, pf), La notte (**85. Polish Krenz), Night Music (56. Polish Radio NSO / Chamber Orch. / Maksymiuk), Listening Wisłocki), Symphony for String Orchestra composers / compositions / performers / 1956–2019 Music (89. Esztényi, Knapik, 2 pf), Modus (56. Orch. National de la RTF / Martinon); (*83. Monighetti, vc), Music from Afar (**74. Skryabin, Alexander: Prometheus. The Poem Polish Radio and TV SO and Choir, Cracow / of Fire (*2000. Goerner, pf / NPO and Choir / Taverna; 98. NPO and Choir / Michniewski), Kord); Music in Twilight (**78. T. Sikorski, pf / Skrzypczak, Bettina: Initial (*2007. SWR Scottish NO / Markowski; 2006. Esztényi, pf / Sinfonieorchester Baden-Baden und NPO / Nagy), No Title (*73. Music Workshop), Freiburg / R. Huber, Miroirs (*2003. Capelle, Omaggio per quattro pianoforti ed orchestra m-sopr / Polish-German Youth Ensemble / in memoriam Jorge Luis Borges (**88. Bohn), String Quartet (*92. Wilanów String Dutkiewicz, Esztényi, Knapik and Meyer / Quartet), String Quartet No. 3 (*97. Dafô Silesian PO / Stryja; 2010. Górecka, Lisak, String Quartet), Toccata sospesa (*2001. Mironiuk and Walentynowicz / NPO / M. Peäske, fl / Metsamart, Roos, 2 perc), de Leeuw), Other Voices (**75. NPO / Vier Figuren (*2005. Collegium Novum Michniewski; 89. Warsaw Radio Philh. / Zürich / Hirsch); Nowakowski), Paesaggio d’inverno (83. Polish Skweres, Tomasz: zob. Kazińska, Małgorzata Chamber Orch. / Maksymiuk), Prologues – Tomasz Skweres; (**64. Tilbury, T. Sikorski, 2 pf / Choir and Slonimsky, Sergei: Antiphones (*77. Varsovia Instrumental Ensemble of NP / Kuklewicz), String Quartet), Concerto buffo (*69. Sequenza (**66. Orch. RAI Torino / Instrumental Ensemble of the Grand Theatre, Markowski), Sickness Unto Death (**77. Warsaw / Krenz), Four Polish Strophes (*66. Zapasiewicz, recitation / Brass Ensemble / Malewicz-Madey, m-sopr / Dastych-Szwarc, Esztényi, pf / T. Sikorski, pf and conducting), fl), Stubborn Wind (*75. Tallinn Chamber Solitude of Sounds (*76. tape; 2009. Stańko, Choir / Ratassep), The Novgorod Dance tr / tape), Sonant (*67. T. Sikorski, pf), Strings (**80. Music Workshop; 85. Bolshoi Orch. in the Earth (**80. Polish Chamber Orch. / Soloists, Moscow / Lazarev); Maksymiuk; 2000. The Kiev Soloists / Sirenko), Sławiński, Adam: Ballad (78. Malmö Voix humaine (**71. NPO and Choir / Rowicki), Percussion Ensemble), Canto (**81. Polish Zerstreutes Hinausschauen (89. Esztényi, pf); Chamber Orch. / Maksymiuk), Pulsar (**88. Silvestri, Constantin: Prélude et Fugue (*59. Skoczyński, perc / tape); NPO / Wisłocki), Trois pièces (*72. Cluj Philh. Słowiński, Władysław: Espressivo sempre per Chamber Orch. / Cristescu); flauto e quartetto d’archi (91. Gajewska, fl / Silvestrov, Valentin: Dedication (*83. Sakharov, Wilanów String Quartet), Passionato per pf), Evening Music (*83. Sakharov, pf), quattro archi (87. Wilanów String Quartet); Morning Music (*83. Sakharov, pf), Postlude Smalley, Denis: Empty Vessels (*99. tape), (**83. Monighetti, vc / Sakharov, pf), Valley Flown (*93. tape), Vortex (*89. tape); Requiem für Larissa (2005. Hossa, sopr / Smalley, Roger: Monody (*73. Group Lubańska, alto / Zdunikowski, ten / Chorus Intermodulation); of the Grand Theatre, Warsaw / Aukso / Smetanin, Michael: Spray (*2003. Ensemble Michniewski), String Quartet No. 1 (*96. Offspring), The Power of Everyday Things V. Duda String Quartet), Symphony No. 5 (*2003. De Ereprijs / Megens); / 307 (*92. Kiev Opera House Orch. / Baley); Smolka, Martin: A v sadech korálu, jen slabo Šimai, Pavol: Vit’ažstvo (*67. Slovak PO, zrůžovély for mezzo-soprano and piano Bratislava / Rajter); without a pianist (**87. Januszewska), Haiku S Simakovich, Larissa: Terrestrial-Celestial (**2007. Chojnacka, cemb / tape), Nešt’ (*2005. Grakhovskaya, Sazanova, authentic (**2000. Janáček Philh. Orch., Ostrava / Orch. voices / The Classic-Avantgarde Soloists’ of the S.E.M. Ensemble, New York / Kotik, Ensemble / Baidov); Nagy and Arming), 8 pieces for guitar quartet Simaku, Thomas: Concerto for Orchestra (*2008. Aleph Gitarrenquartett), Rent (**2013. NPO / Janiak); a ricercar (*93. Agon Ensemble / Kofroň), Singier, Jean-Marc: S’immiscent, en phases, Ringing (*2002. Ondrůšek, perc), Semplice en lice, en files, pêle-mêle (*95. Ensemble (*2014. Arte dei Suonatori / Musikfabrik / Alternance / Masson); Asbury), Tears (2013. members of the Aukso); Sioumak, Alexei: Polka (*2004. Tantsov, cl / sniff dj: Turntable Reconstructions Khodina, vn / Galotchkina, vc / Dubov, pf); (2009. dj sniff / Walczyna, sound); Sitsky, Larry: Foucault’s Pendulum Sokola, Miloš: Variations on Kapralova (*94. Harvey, pf); (*60. Czech PO / Ančerl); Siwiński, Jarosław: Dominobajki (2011. Solal, Martial: 2 Improvisations pour les cordes Siwiński, pf / Lorent, batt), Notari E. M. (93. pincées (*92. Chojnacka, cemb), Pièce pour tape), Notarimbalo (97. Kmieć, cemb / tape), clavecin et percussion (*84. Chojnacka / Pianerecerto (**95. Rutten, pf / De Ereprijs / Gualda); Boerman), Piano Quintet (**99. Honma, pf / Sonus Akrobata: improvised music (2004. Kreutzer Quartet), Polish Songs (**2006. Izdebski, fretless baritone gtr / Gos, drums); tape), Silent Fish, microopera (**2016. Sommer, Günther: see Raecke, Hans-Karsten Stępień, sopr / Pieron, bas / Górczyński, cl / – Günther Sommer; Styczyński, vla / Kołcz, cb / Baczyńska- Soproni, József: String Quartet No. 4 Kissas, synthesizer / Kołcz, libretto / (*75. Kodály Quartet); Ociepka, dir. / Okoń-Makowska, Sørensen, Bent: Lullabies (2014. Piotr Wyszkowska, sound); Nowicki, pf), La Mattina. Piano Concerto No 2 Sixta, Josef: Asynchronie (*70. Czechoslovak (*2014. soundwork – revised by Anna Berit Radio SO / Nohejl), Nonet (77. Košice String Asp Christensen), Piano Concerto ‘La notte’ Quartet / Bratislava Wind Quintet / Sixta); (*98. Hind / Danish National Radio SO / Sjöberg, Johan-Magnus: Hör där min vän! Dausgaard), Ständchen (*2007. part IV – (*92. Schola Cantorum Gedanensis / tape / **2007. Aukso / Moś), Symphony (*2001. Łukaszewski); NPO / Strugała), The Lady of Shalott (2002. Skempton, Howard: For Strings (*70. Tilbury, Pryn, vn), The Songs of the Decaying Garden pf / Music Workshop), Waltz (*70. Tilbury, pf / (*2004. Oshiro, cl), Trotto (*84. Vestjysk Music Workshop); Kammerensemble), Warsaw Medley (**98. Skokan, Christian: Blues x √3 Lindberg, tbn / Silesian String Quartet); (*2001. Worms, pf); Sotelo, Maurizio: Chalan (*2008. Bernat, perc Skorik, Mirosław: Suite in D Major for String / Orquesta Sinfónica de Radio Televisión Orchestra (*74. Armenian Chamber Orch. / Española / Tamayo), Como Ilora el viento Saakianc); (*2008. Cañizares, gtr / Orquesta Sinfónica de Radio Televisión Española / Tamayo), / Duczmal), String Madrigali dell’estate for Si después de morir… in memoriam José voice and string trio (*85. Szwajgier, sopr / Ángel Valente (*2008. Arcángel, cantaor / members of Wilanów String Quartet), composers / compositions / performers / 1956–2019 NPO / Urbański); String Quartet No. 3 (**88. Varsovia String Sotomski, Jacek: CREDOPOL (2019. Quartet), Tre intermezzi per trio d’archi Majewska, voice / Ensemble Kompopolex / (95. Moś, vn / Syrnicki, vla / Janosik, vc); Artistic Group Go Go / Niedźwiedź, Ptak, Stahmer, Klaus Hinrich: Herr de Winde sound), Thanks, Leszek (**2017. Spółdzielnia (*2003. Bledsoe, fl / tape); Muzyczna Contemporary Ensemble / Stainov, Petko: Symphonic Scherzo Rusowicz); (*61. Sofia PO / Ilyev); Souster, Tim: Chinese Whispers (*73. Group Stankovych, Yevhen: Quid pro quo (**2000. Intermodulation), Titus Groan Music, new Basalayeva, pf / The Kiev Soloists / Sirenko), version (**70. Filharmonikernas Blaser, Suite from the ballet ‘Prometheus’ (*89. Stockholm / tape); Ukrainian SO, Kiev / Blazhkov), Symphony Spahlinger, Mathias: furioso (*2001. United No. 4 ‘Lirica’ (*84. Latvian Philh. Chamber Berlin / Hirsch), Verlorener Weg, 1st and Orch. / Lifšics), The Music of Red Forest 2nd versions (*2007. Polish-German Youth (*96. Örmény, pf / Duda, vn / Myhal, vc); Ensemble / Bohn), Vorschläge fragments Stańczyk, Marcin: Sighs (*2014. New Music (2011. teachers of the primary schools Orch. / Bywalec), suggested music (**2010. in Warsaw: Jabłonowska, Kubiak- Ensemble Nikel / Krause, sound), Nibiru – Dobrowolska, Ługowska, Żak-Kornowicz / La rivoluzione delle terra sconosciuta Poore, dir.); (2010. Oslo Sinfonietta / Eggen); Spasov, Ivan: Mouvements (*68. Sofia Staud, Johannes Maria: Configurations/ Reflet Chamber Orch. / Kazandjiyev), Three Songs (*2003. Österreichisches Ensemble für Neue (*81. Female Choir of the Institute of Musik / Kiradjiev), One Movement and Five Musical Pedagogy, Plovdiv / Chetinian); Miniatures (*2010. Mijatović, cemb / Spassov, Bojidar – Tamás Waliczky: Österreichisches Ensemble für Neue Musik Asylphonia (*2000. ZKM Karlsruhe); / Experimentalstudio SWR Freiburg / Tamayo Spisak, Michał: Allegro de Voiron (*61. Sofia / Schönegger, Sigl, sound projection); PO / Ilyev), Andante and Allegro (75. Jakowicz, Steen-Andersen, Simon: Double Up (*2015. vn / Chamber Ensemble of NP / Teutsch), Gorczyca, sampler / Steen-Andersen, live Concerto for Bassoon and Orchestra mixing / NPO / Okoń-Makowska, sound), (56. Plessier / Orch. National de la RTF / Next to Beside Besides #0+3+6+12 (**2017. Martinon), Concerto for Two Pianos (63. Anderson, vla / Bojanowicz, vc / Frąckiewicz, Kaczyński and Mietelski), Concerto giocoso Łuc, 2 acc / Bereza, sound), Ouvertures (*58.; 64. Polish Radio NSO / Krenz), (*2014. Liu, guzheng / Siwiński, sampler / Sonatina for Oboe, Clarinet and Bassoon Steen-Andersen, live electronics / Sinfonia (59. Gerlach / Kiebeler / Junge), Suite Varsovia / Gazon), Study for for String Orchestra (56. G. Enescu PO / #1 (2015. Orning, vc / Hellqvist, Sadkowska, Basarab), Suite for Two Violins (59. Dubiska vn), Study for String Instrument #2 (*2015. and Umińska), Symphonie concertante No. 1 Orning, vc / Steen-Andersen, whammy (65. Berliner Sinfonie-Orchester / pedal), Study for String Instrument #3 Sanderling), Symphonie concertante No. 2 (*2015. Orning, vc); 308 \ (59. Hungarian Radio SO / Lehel); Stibilj, Milan: Impressions (**63. Ansambl Šramek, Vladimir: Metamorfoz VI ‘Slavko Osterc’ / Petrić), La Rosette (*85. (*64. Musica viva Pragensis / Vostřák); Ljubljana Radio and TV SO / Salwarowski), S Srebotnjak, Alojz: Naturae vox Xystus (*76. Nagtegaal, Goudswaard, perc / (*85. Ljubljana Radio and TV SO / Nanut); Slovene PO, Ljubljana / Nanut); Stäbler, Gerhard: Den Müllfahrern von San Stivriņa, Renāte: Earth: Miniature no. 3 Francisco (*94. Musikfabrik NRW / Kalitzke; (**2014. Cracow Music Academy 2011. Musikfabrik / Masson), Warnung mit Composition Students / Koczur) Liebeslied (*93. Sikorzak-Olek, hp / Koźlik, Stockhausen, Karlheinz: Argument (*92. Pike, acc / Skoczyński, perc); ten / Isherwood, bass / S. Stockhausen, Stache, Erwin: Cuckoo Clock Orchestra synth / M. Stockhausen, tr / Pasveer, perc / (2014. sound installation), Musical Carriage K. Stockhausen, sound and light engineering), (2014. sound installation); Aries (*92. M. Stockhausen, tr / tape / Stachowski, Marek: Audition (70. Świątek, fl / K. Stockhausen, sound and light engineering), Gałązka, vc / Tilbury, pf), Birds (78. Ave (*92. Stephens, bassethorn / Pasveer, Szwajgier, sopr / Przystaś, cl / Miryński, vn fl / K. Stockhausen, sound and light / Polonek, vla / Koślacz, vc), Capriccio engineering), , 13th Hour from (84. Polish Radio and TV SO, Cracow / Klang (*2008. B. Wolf, sound), Donnerstags- Katlewicz), Chamber Concerto (*90. Abschied (*92. M. Stockhausen, tr / tape / Uroboros Ensemble / Pritchard), Chants of K. Stockhausen, sound and light engineering), Thakur (**75. Polish Radio and TV Choir, Drei Melodien aus dem (87. Kremer, Cracow / Polish Radio NSO / Maksymiuk), vn), Examen (*92. Pike, ten / Marcus Choreia (*81. Polish Radio NSO / Kaspszyk), Stockhausen, tr / Noiret, dancer / Majella Concerto for Cello and String Orchestra Stockhausen, pf / Stephens, bassethorn / (**91. Pergamenschikow / Sinfonia Varsovia K. Stockhausen, sound and light engineering), / Penderecki), Divertimento (79. Polish Flautina (*92. Pasveer, fl / K. Stockhausen, Chamber Orch. / Maksymiuk), From sound and light engineering), Freude, the Book of Night (93. Polish Radio NSO / 2nd Hour of Klang (*2011. Kooi, M. Smit, 2 ar Wit), Intermezzo I (94. Moś, vn / Syrnicki, vla / G. Smit, sound), Gesang der Jünglinge / Janosik, vc), Irisation (**73. Polish Radio (*58.; 92. tape), Glanz, 10th hour of Klang NSO / Wisłocki), Musica festeggiante (97. (2009. Asko | Schönberg Ensemble / Dafô String Quartet), Musique en quatre Warmderdam, light / Jonker, Panis, sound), scènes (*87. Szymyślik, cl / Silesian String Gruppen (*2000. Janáček Philh. Orch., Quartet), Musique solennelle (**74. Orch. Ostrava / Orch. of the S.E.M. Ensemble, Philh. de la RTF / le Roux), Pezzo grazioso New York / Kotik, Nagy and Arming), (83. Wind Quintet of the Polish Radio and Hymnen (*2008. European Workshop for TV, Katowice), Poème sonore (77. NPO / Contemporary Music / Amaral / B. Wolf, Markowski; 2005. Slovak Radio SO / Nagy), sound), (84. Pituch, alto sax), Quartet No. 2 (*76. Wilanów String Quartet), (2012. Kuś, dance / Okoń-Makowska, Quartetto da ingresso (80. Wilanów String sound), Kathinkas Gesang (*92. Pasveer, fl / Quartet), Sapphic Odes (86. Stępień, m-sopr tape / K. Stockhausen, sound and light / Polish Radio NSO / Wit), Sonata per archi engineering), Klavierstück X (83. Wambach), (92. Polish Radio Chamber Orch. ‘Amadeus’ Klavierstück XI (*58. Tudor), (*65. Aloys Kontarsky, pf / Caskel, perc / tape), – Dumbarton Oaks (62. Prague Chamber Kontra- (2004. Polish-German Youth Orch.; 77. Polish Chamber Orch. / Ensemble / Bohn), (64. Musica Maksymiuk), Danses concertantes (69. viva Pragensis / Vostřák), Luzifers Traum Ballet-Théâtre Contemporain, Amiens / composers / compositions / performers / 1956–2019 (*92. Isherwood, bass / Majella Blaska, choreography / music from tape), Stockhausen, pf / K. Stockhausen, sound Duo concertant (62. Vayman, vn / and light engineering), (*79. Canino, Karandashova, pf), Ebony Concerto (*56. Ballista, 2 pf / Experimentalstudio Polish Radio NSO / Krenz; 96. Spring Orch. der Heinrich-Strobel-Stiftung of Warsaw Autumn / Zhadko), Firebird, des Südwestfunks), Michaels Reise um orchestral suite (56. Silesian PO / die Erde, Act 2 of Donnerstag from Licht Skrowaczewski; 59. Orch. de la Suisse (*2008. M. Stockhausen, Blaauw, tr / Romande / Ansermet; 71. Staatskapelle Jürgensen-Jacobsen, bassethorn / Rosman, Dresden / Kurz), Fireworks (56. Brno PO / cl / Schouten, cl and bassethorn / Bakala), Four Etudes (71. Radio PO, MusikFabrik / Rundel / Jeukendrup, sound), Hilversum / Markowski), Four Russian Songs Mixtur (*70. Kölner-Rundfunk-Sinfonie- (80. Łukomska, sopr / Esztényi, pf), Histoire Orchester / Gielen / Stockhausen, sound), du soldat, orchestral suite (62. Silesian PO / Mondeva (*92. Stephens, bassethorn / Pike, Stryja; 80. London Sinfonietta / Zollman), ten / K. Stockhausen, sound and light), In memoriam Dylan Thomas (*60. Bachleda, Natürliche Dauern, 3rd Hour of Klang, ten / Cracow Philh. Chamber Orch. / fragments (2011. Löffler, pf / Kobler, pf), Markowski), Jeu de cartes (56. Polish Radio Oben und Unten (*76. Opern-Studio, Kiel / and TV SO, Cracow / Gert), Oedipus Rex (*60. Lehner, staging / Reinke, musical dir.), Szostek-Radkowa, m-sopr / Pustelak, ten / Octophonie (*2007. Wolf, sound), Orchester- Bachleda, ten / Hiolski, bar / Ładysz, bass / Finalisten, 2nd scene of Mittwoch from Licht Kaliszewski, recitation / Polish Radio NSO / (2009. Asko | Schönberg Ensemble / Krenz), Orpheus (63. Ballet Ensemble and Warmderdam, light / Jonker, Panis, sound), Orch. of the Grand Theatre, Warsaw / Orvonton, 15th Hour of Klang (*2011. Rodriguez, choreography / Wodiczko, de la Paz Zaens, bar / tape / Jeukendrup, musical dir.), Petrushka, orchestral suite sound), Paradies, 21st Hour of Klang (*2011. (56. Polish Radio NSO / Wisłocki; 70. NPO / Bledsoe, fl / tape / Jeukendrup, sound), Rowicki), Pribaoutki (63. Berberian, m-sopr / Plus-Minus, prepared by John Tilbury for Instrumental Ensemble of the Grand organ, piano and percussion (*68. Krauze / Theatre, Warsaw / Madey), Requiem Frémy / Tilbury), Refrain (*66. Hudba Canticles (*85. Kowalczyk, alto / Mechliński, dnéška), Spiel (*88. SWF Sinfonieorchester bar / Silesian Philh. Choir / NPO / Krenz), Baden-Baden / Gielen), (*74. Scherzo à la russe (89. Ukrainian SO, Kiev / Collegium Vocale Köln), Blazhkov), Scherzo fantastique (71. NPO / (*68. tape), Traum- (*92. Stephens, Rowicki), Septet (62. Melos Ensemble), bassethorn / K. Stockhausen, sound and Symphonies d’instruments à vent (77. NDR light engineering), Urantia, 19th Hour of Sinfonieorchester / Krenz), Symphony in C Klang (*2011. tape / Jeukendrup, sound) (80. Silesian PO / Stryja), Symphony in Three Vision (*92. Pike, ten / M. Stockhausen, tr / Movements (*59. Orch. de la Suisse Noiret, dancer / S. Stockhausen, synth / tape Romande / Ansermet; 67. Orch. Philh. de / K. Stockhausen, sound and light la RTF / Markowski), The Flood (*65. Nikodem, / 309 engineering), Wellen (*73. Group ten / Kossowski, bass / Krafftówna, Intermodulation), Wochenkreis (*92. Szczepkowski, Siemion, Nowak and Kryński, Stephens, bassethorn / S. Stockhausen, recitation / NPO and Choir / Rowicki), S synth / K. Stockhausen, sound and light The Fox (63. Bachleda, ten / Kopacki, ten / engineering), Zeitmasse (*60. Het Danzi Artysz, bar / Michoński, bass / Silesian PO / Kwintet), Zungenspitzentanz (*92. Pasveer, Stryja), The Mass (77. Choir of the Grand fl picc / Chalon and Noiret, dancers / Theatre, Warsaw / instrumental ensemble / S. Stockhausen, synth / K. Stockhausen, Straszyński; 89. RIAS-Kammerchor / Wind sound and light engineering), Zyklus Ensemble of NP / Creed), (*61. Caskel, perc); (56. Orch. National de la RTF / Martinon; 76. Stoikov, Nikolai: Humoresque (*81. Female NPO / Rowicki; 84. version for piano for four Choir of the Institute of Musical Pedagogy, hands. Canino and Ballista), The Wedding Plovdiv / Chetinian); (62. Goławska, sopr / Ślifarska, m-sopr / Strasnoy, Oscar: Geschichte, operetta Nikodem, ten / Kossowski, bass / NPO and a cappella based on Witold Gombrowicz’s Choir / Wisłocki), Three Pieces for String play History (*2012. new version, Neue Quartet (61. Novák String Quartet; 90. Vocalsolisten Stuttgart / Stoev, libretto / Silesian String Quartet), Trois poésies de la Selge, stage director / Eisenberger, Lyrique Japonaise (61. Escribano, sopr / costumes / Błażejczyk, sound), The End Ensemble ‘Die Reihe’ / Cerha), Variations (*2008. Polish Radio NSO / Kaspszyk); Aldous Huxley in memoriam (85. BBC Scottish Strauss, Richard: Till Eulenspiegels lustige SO / Maksymiuk), Zvezdoliki (*62. Cracow PO Streiche (56. G. Enescu PO / Georgescu); and Choir / Markowski); Strauss, Wolfgang: III. Sinfonie, Op. 59 Strid, Raymond, see 1) Klapper, Martin – (*74. Rundfunk-Sinfonieorchester Berlin / Raymond Strid, 2) Klapper, Martin – Rögner); Joan Saura Marti – Raymond Strid; Stravinsky, Igor: Agon (*65. Roumanian Film Stroe, Aurel: Arcades (*65. Roumanian Film Studios Orch. / Bugeanu), Anthem (84. Studios Orch. / Bugeanu), Musique de Collegium Vocale Köln), Apollon Musagéte, concert (*67. Ionesco-Vovu, pf / Instrumental fragments (80. Polish Chamber Orch. / Ensemble of NP / Dobrzyński), Rêver c’est Maksymiuk), A Sermon, a Narrative and désengrener les temps superposés (*71. a Prayer (*87. Rappé, alto / Kusiewicz, ten / Musica Nova Bucharest), Sonate pour piano Morawski, speaker / Silesian PO and Choir / (*62. Krauze), Two Epitaphs (*73. Budoiu, bar Stryja), Canticum sacrum (63. Tappy, ten / / pianist from the ensemble Ars Nova Cluj), Rehfuss, bar / Cracow PO and Choir / see also Enkyklopaideia; Markowski), Capriccio (65. Grychtołówna, pf / Stroppa, Marco: élet… fogytiglan. Dialogo Poznań PO / Krzemieński; 89. Drozdova, pf / immaginario fra un poeta e un filosofo Ukrainian SO, Kiev / Blazhkov), Concertino (**2010. European Workshop for (62. LaSalle Quartet; 64. Novák String Contemporary Music / Bohn), little i Quartet; 91. Silesian String Quartet), (**2003. Levine, fl, alto fl and fl picc / tape); Concerto for Two Pianos (69. Ogdon / Lucas), Strycharski, Dominik: Dry Your Tendencies Concerto in D – Basler Concerto (78. Polish (**2016. Górczyński, cl), Flauto Dolce Techno Chamber Orch. / Maksymiuk), Concerto in Es (**2019. Strycharski, recorders, electronics); Strzelec, Szymon Stanisław: Earth: Gerard Hoffnung’s Six Unpublished Drawings Miniature no. 2 (**2014. Cracow Music (2008. Sonic. Art Quartett), Improvisations Academy Composition Students / Koczur), sonoristiques (73. Music Workshop; 2015. composers / compositions / performers / 1956–2019 L’Atelier de sensorité (**2015. Lelek, vc / Talea Ensemble), Inside? – Outside? (**88. European Workshop for Contemporary Sparnaay, b cl / Silesian String Quartet, Music / Bohn / Błaszczak, Guziołek- 2004. Górczyński, b cl / Silesian String Tubelewicz, sound), ˈswiːt ˌspɒt (**2017. Quartet), Les Sons (**65. Silesian PO / Ensemble Nostri Temporis), The Hâsbeiya Stryja; 99. NPO / Michniewski), L’hautbois Fountain (2014. Lutosławski Orchestra mon amour (**99. Dawidek, ob / Radio Moderna / Kozłowski); Kamerorkest Hilversum / Eötvös), Little Studio CH&K: for Piotr (**2017. Chołoniewski, B-A-C-H Symphony (85. Ljubljana Radio and Knittel, electronic media / Janicki, video); TV SO / Nanut), Medusa’s Dream of Pegasus Stulgińska, Agnieszka: FMYF (**2019. Dałek, (**99. Kaliński, cr / Yan, fl a becco), Medusa’s voice / Ensemble Kompopolex / Koczur / Head (99. Bossler, Simon, Voigt, 3 fl), Niedźwiedź, Ptak, sound), OMYM (**2019. Miserere (2000. Camerata Silesia / Szostak), Dałek, voice / Ensemble Kompopolex / Musica concertante per violbasso e orchestra Koczur / Niedźwiedź, Ptak, sound); (**77. Turetzky / NPO / Michniewski; 2012. Stuppner, Hubert: Ces Parfums de Valse Owczynnikow / NPO / Janiak), Mutanza (78. délicieusement toi, Ulrike… (**80. Music Małek, pf), Mutazioni (70. Polish Radio NSO / Workshop); Kord), Nocturne (**80. Mechliński, bar / Subotnick, Morton: An Arsenal of Defense for U. Holliger, hp / Polish Chamber Orch. / viola and ghost electronics (*86. Graham), Maksymiuk), 1+1+1+1 per 1-4 strumenti ad Jacob’s Room (*99. McCormick, vc / arco (**75. Wilanów String Quartet; 2006. Subotnick, computer), Lamination I (*70. Silesian String Quartet), Piernikiana (79.; Polish Radio NSO / de Carvalho), Last 2017. Piernik, tba), Poseidon and Medusa Dream of the Beast (*81. La Barbara, sopr / (**2001. ‘Soli Sono’ Trio), Prayer; Silver tape), Parallel Lines (*81. Kotnowska, fl picc Prelude (*93. Camerata Silesia / Szostak), / tape / instrumental ensemble / Proporzioni I­ ­­­­­­­­­­­­­­­­(**69. Warsaw Harp Trio), Subotnick), Silver Apples of the Moon (2009. Quattro monologhi per oboe solo (68. Miso Music Portugal’s Loudspeaker Orch. / Mandera; 97. Dawidek), Symphony of Rituals Azguime, sound), see also Parades and (**2002. Silesian String Quartet), Three Changes; Sketches (76. Mazurek, hp), Toccata e corale Suchoň, Eugen: Krútňava (59. Ensemble of (*93. Esztényi, pf), Ziemio miła (71. Hiolski, the Grand Theatre, Poznań / Horowicz, bar / Silesian PO / Stryja); staging / Górzyński, musical dir.); Szałankiewicz, Łukasz: Whoosh Sounds, Sumitani, Satoshi: Cluster of Nephrolepis interactive audiovisual installation Marshallies (*83. tape); (**2012. Deruba, video); Suso, Foday Musa: Tillaboyo (*92. Kronos Szałowski, Antoni: Overture (56. Polish Radio Quartet); NSO / Wisłocki), Trio for Oboe, Clarinet and Suzuki, Kazuhiko: Molds (*2005. Miyata, shô); Bassoon (59. Warsaw Woodwind Trio); Sveinsson, Atli Heimir: Bizzarreries (*78. Lyric Szeghy, Iris: Bolero-Blues (*2001. Worms, pf), Arts Trio), Fantastic Rondos (**80. Music Canticum (**2002. Lenko, acc), Story (*97. Workshop), Icelandic Rap (**98. Caput Szwajgier, sopr / tape); 310 \ Ensemble / Gunnarson); Székely, Endre: Maquamat (*72. Sziklay, sopr / Sviridov, Georgi: How the Song Was Born Budapest Chamber Ensemble / Mihály); (*69. State Academic Choir of the USSR / Szeligowski, Tadeusz: Epitaph (56. Polish S Sveshnikov), Kursk Songs (*66. Choir of Radio NSO / Wisłocki), Krakatuk (58. Baltic the RFSSR / Moscow PO / Kondrashin), Opera Ensemble / Brégy, staging / Music for Strings, Piano and Horn (*64. Latoszewski, musical dir.), Piano Concerto Moscow Chamber Orch. / Barshay); (63. Kędra / Polish Radio NSO / Krenz), Synowiec, Ewa: Four Graphic Prints Psalm CXVI (**60. Poznań Philh. Choir / (99. Sutt, batt); Stuligrosz), Sailor’s Song (56. Polish Radio Szabelski, Bolesław: Aphorisms ‘9’ and TV Choir / Kluczniok), The Angels Sang (**62. Melos Ensemble / Stryja; 64. NPO / Sweetly (56. Polish Radio and TV Choir / Wisłocki; 78. Silesian PO / Stryja), Concerto Kluczniok); for Flute and Orchestra (*65. Bronkowski, fl / Szemzö, Tibor: Skullbase Fracture Kiecka, cl / Polish Radio NSO / Bour), (*95. performance); Concerto grosso (56. Orch. National Szeremeta, Ryszard: Advocatus diaboli (**81. de la RTF / Martinon; 78. Silesian PO / Łódź PO / Markowski), Agent Orange (87. Stryja), Etude (58. Polish Radio NSO / Krenz), tape / Pilch, perc / Pituch, sax / Szeremeta, Improvisations (**59. NP Choir / Silesian synth), Amphora (**85. Pituch, sax / tape), Philh. Chamber Orch. / Markowski), Belief (2001. Novi Singers / tape), Hourglass Nicolaus Copernicus (76. Woytowicz, sopr / (**96. Kulka, vn / tape), Miraculeo (88. Pilch, NPO and Choir / Rowicki), Piano Concerto perc / Szeremeta, synth / tape), Points I (*91. (**78. Żmudziński / Silesian PO / Stryja), tape), Pulse Rate (86. tape), SY99 Message Poems (**61. Żmudziński, pf / Cracow PO / (**93. tape), Trickstar (89. Crossover: Markowski; 78. Żmudziński, pf / Silesian PO Esztényi, pf / Pituch, sax / Pilch, perc / / Stryja), Preludes (**63. Polish Radio NSO / Szeremeta, synth), Triple Concerto (**95. Krenz), Sonnets (60. Orch. NHK / Iwaki), tape), Un Morceau de Mac (**97. version for Symphony No. 3 (56. Silesian PO / Stryja), tape and two programmed synthesisers); Symphony No. 4 (78. Silesian PO / Stryja), Szewach, Julieta: Dikyrion (**2008. Rossi, Symphony No. 5 (**68. NPO and Choir / voice / Okoń-Makowska, Błażejczyk, sound); Rowicki), Toccata (59. NPO / Rowicki; Szmatłoch, Zbigniew: improvised music 79. NPO / Markowski); (2004. Szmatłoch, prepared gtr); Szalonek, Witold: Aarhus Music (72. Wind Szmytka, Jagoda: happy deaf people (**2012. Quintet of Polish Radio and TV, Katowice), Boesch, vc / Bajewska-Kołodziejak, sign Bagattellae di Dahlem II (2003. Havlina- language interpreter / European Workshop Prešiček, fl / N. Prešiček, pf), Concertino for Contemporary Music / Bohn / Błażejczyk, per flauto e orchestra da camera (**63. sound), jonction (2008. Orquesta Sinfónica Gazzelloni / Polish Radio NSO / Krenz), de Radio Televisión Española / Tamayo), Confessions, parts I and III (**59. Delekta, Lost Play (**2015, Aulbert, voice, acting / recitation / NP Choir / Silesian Philh. Berweck, voice, sampler, acting / Paul Chamber Orch. / Markowski), Connections Hübner, trumpet, acting / Ahrens, electric (*74. Wilanów String Quartet / Instrumental guitar / Katharina Bach, voice, acting / Ensemble of NP / Szalonek), D. P’s Five Yannick Hofmann, moderation / Decoder Ghoulish Dreams (**86. Pituch, alto sax), Ensemble / Alexander Hofmann, sound / Szmytka, text, video, script, direction / Cantabile (2019. tape), .Eals (Oomsu) (**2009. Przebinda, vision direction, staging / NPO / tape / Wit ), Epilogue (**2013. Aukso / Mioduszewska, set design / Gonter, Moś), Epitaph (2001. Škuta & Škutova, 2 pf), costumes / Jovanovic, video animation); Film Music (**2001. Polish Radio NSO / composers / compositions / performers / 1956–2019 Szokolay, Sándor: Violin Concerto (*59. Simor Chmura), Five Pieces for String Quartet (*93.; / Hungarian Radio SO / Lehel); 2006. Silesian String Quartet), Four Liturgical Szöllösy, András: III Concerto per archi (*70. Pieces (90. Januszewska, sopr / Poznań PO / Czechoslovak Radio SO / Nohejl), Elegy (*96. Michniewski), Gloria (**79. NPO and Choir / Componensemble / Serei), Miserere Markowski), Lux aeterna (**85. Chor (*88. The King’s Singers), Transfigurazioni des Süddeutschen Rundfunks / (*81. Budapest SO / Lehel); instrumental ensemble / Franz), Partita III Szpyrka, Monika: Fire: Miniature no. 2 (**2014. (**86. Chojnacka, cemb / NPO / Kord; 2015. Cracow Music Academy Composition Sarbak, cemb / Janáček Philharmonic Students / Koczur); Orchestra Ostrava / Nagy / Okoń-Makowska, Szwajgier, Krzysztof: see Scales and Arpeggios; reż. dźwięku), Partita IV (88. Polish Radio Szwed, Katarzyna: Kind of Like Indian Summer NSO / Krenz), φυλακτηριον (Phylakterion) (*2010. Österreichisches Ensemble für Neue (2012. Camerata Silesia / Kuc, Merta, Musik / Tamayo); Rawski, perc / Szostak), quasi una sinfonietta Szymanowski, Karol: Demeter, Op. 37 bis (*92. Sinfonia Varsovia / Dufallo), Recalling (62. Szymańska, alto / Cracow PO and Choir a Serenade (*96. Kriikku, cl / Silesian String / Markowski), Four Songs, Op. 41 (67. Quartet), Sixty-odd Pages (**91. SWF Bojanowska, sopr / Hałacz, pf), Four Songs, Sinfonieorchester Baden-Baden / Bamert), Op. 54 (67. Bojanowska, sopr / Hałacz, pf), Sonata (83. Polish Chamber Orch. / Harnasie, Op. 55 (60. Ballet Ensemble, Choir Maksymiuk), Sostenuto (2013. NPO / Janiak), and Orch. of Baltic Opera / Jarzynówna- Through the Looking Glass… II (*89. tape), Two Sobczak and Dobraczyński, choreography / Illusory Constructions (2003. Ensemble Latoszewski, musical dir.), King Roger, Op. 46, Offspring), Two Studies (**90. Esztényi, pf); concert performance (61. Łukomska, sopr / Śniady, Marta: aer (2015. Stefański, cl, b cl / Szczepańska, m-sopr / Bachleda, Pustelak, New Music Orch. / Bywalec / Olko, sound), 2 ten / Hiolski, bar / Ładysz, bass / Polish c_ut|e_#1 (2019. European Workshop for Radio and TV SO and Choir, Cracow / Gert), Contemporary Music / Bohn / Kruk, sound), 6 Kurpie Songs (56. Polish Radio and TV Meme opera (**2016. Szablewska, voice / Choir, Cracow / Kluczniok), Litany to Łuc, acc / Błażejczyk, electr gtr / Sałdan, the Virgin Mary, Op. 59 (72. Woytowicz, sopr / perc / Płociński, vc / Koczur / Kierkosz, NPO and Choir / di Bonaventura), Masques, texts, artistic concept / Dworakowski, texts, Op. 34 63. performed as ballet. Woroniecka, artistic concept, dir. / Stępień, scenography, pf / Miniature Ballet of Baltic Opera / visualisations); Jarzynówna-Sobczak, choreography), Świder, Józef: Cantus gloriosus (85. Szczecin Mazurka, Op. 62, No. 2 (87. Witkowski, pf), Technical University Choir / Szyrocki); Metopes, Op. 29 (67. Utrecht, pf), Myths, Op. 30 Tabachnik, Michel: Prelude à la Légende (63. performed as ballet. Herman, vn / (*90. NPO / Tabachnik); Woroniecka, pf / Miniature Ballet of Baltic Tabakiernik, Piotr: De Trinitate (**2019. Opera / Jarzynówna-Sobczak, choreography; Zdunik, vc / Camerata Silesia / New Music 97. Danczowska, vn / Malicki, pf), Słopiewnie Orch. / Szostak / Bywalec / Guziołek- / 311 (93. Hardy, sopr / Schönberg Ensemble / Tubelewicz, sound), Symphonic Piece de Leeuw), Sonata No. 3 for Piano, Op. 36 (**2017. NPO / Kaspszyk), Voices / Votes (62. Krauze; 97. Domańska), Songs of (**2018. performance / park game; Hashtag S–T Infatuated Muezzin, Op. 42 (80. Pisarenko, Ensemble / Krych / Gawrońska, Todorczuk- sopr / Richter, pf), Songs of the Fairy Tale Perchuć, Głowacki, Kraśnicki, Kibalski, Princess, Op. 31 (67. Bojanowska, sopr / Mazur, actors / Niedźwiedź, sound / Hałacz, pf), Stabat Mater, Op. 53 (56. Students of the 1st year of the Academy of Kunińska, sopr / Szczepańska, m-sopr / Fine Arts in Warsaw – Departament of Stage Hiolski, bar / NPO and Choir / Wodiczko), Design, stage design); String Quartet No. 1 in C Major, Op. 37 (73. Taborda, Tato: Estratos (*2014. Orquesta Wilanów String Quartet), String Quartet No. 2, Experimental de Instrumentos Nativos / Op. 65 (61. Borodin String Quartet), Prudencio); Symphony No. 3 ‘The Song of the Night’, Op. 27 Taborowska, Katarzyna: Dissociations (56.; 59.; 62. Woytowicz, sopr / NPO and Choir (2002. Lenko, acc); / Rowicki; 87. Calleo, ten / NP Choir / Polish Taira, Yoshihisa: Monodrame I Radio NSO / Wit), Symphony No. 4 (Symphonie (88. Skoczyński, perc); concertante), Op. 60 (59. Żmudziński, pf / Takahashi, Yuji: Six Stoicheia (*77. Branicka, Polish Radio NSO / Krenz; 62. Hesse- Hazuka, Statkiewicz, Jasionowska, 4 vn); Bukowska, pf / NPO / Rowicki; 66. Rubinstein, Takasugi, Steven Kazuo: Sideshow (*2016. pf / NPO / Wisłocki), Twelve Etudes, Op. 33 Talea Ensemble / Adamcyk, live electr.); (67. Utrecht, pf), Two Mazurkas, Op. 62 Takemitsu, Toru: A Flock Descends into (67. Utrecht, pf), Violin Concerto No. 2, Op. 61 the Pentagonal Garden (*83. Polish Radio (63. Wiłkomirska / Polish Radio NSO / NSO / Wisłocki), A Way a Lone (94. Silesian Krenz; 77. Szeryng / Polish Radio NSO / String Quartet), Ceremonial – an Autumn Ode Maksymiuk); (*2005. Miyata, shô), Green (*76. Polish Szymanowski, Karol – Jan Krenz: Masques, Radio and TV SO, Cracow / Kaspszyk), triptyque symphonique pour orchestre Handmade Proverbs (*88. The King’s Singers), (**88. Polish Radio NSO / Krenz); Marginalia (*77. Tokyo Metropolitan SO / Szymański, Paweł: A Kaleidoscope for M.C.E. Watanabe), Nostalghia (*92. Żołnierczyk, vn / (**97. version for violin / Bąkowski), a piú Polish Radio Chamber Orch. ‘Amadeus’ / corde (2010. Grzybowski, pf / Bemowska, Duczmal), Paths – In Memoriam Witold Fandri, Kopijkowska, Nowakowska, Lutosławski (**94.; 98. Hardenberger, tr), Ostrowska, Sikorzak-Olek, Strzeszewska- Rain Coming (*89. London Sinfonietta / Lis, Witkowska, 8 hp), Appendix (**84. Masson), Rain Dream (*86. Chojnacka, Gajewska, fl picc / instrumental ensemble / cemb), Rain Tree (*88. Żytyńska, Heiniger, Gawroński), A Study of Shade (**94. NPO / Pilch, 3 perc), The Dorian Horizon (*68. Katlewicz), Ceci n’est pas une ouverture Wrocław PO / Markowski), To the Edge of (2007. Polish Radio NSO / de Leeuw), Dream (*89. Andersson, gtr / Poznań PO / Compartment 2, Car 7 (*2004. Nowicki, vibr / Michniewski), Twill by Twilight (*2005. NPO / Duda, vn / Dumanowska, vl / Armatys, vc), Yuasa), Vocalism A. I (2005. tape); Concerto for Piano and Orchestra (*95. Takenaka, Yasuhiro: Memory of the Universe Pobłocka / Polish Radio NSO / Wit), (*94. Dąbrowski, perc / tape); Taktakishvili, Otar: Piano Concerto (*58. Zak / the Musical Images project in Zachęta – Leningrad PO / Sanderling), The Cranes National Gallery of Art); (*69. State Academic Choir of the USSR / The Fifteen Directions of the World, excerpts of composers / compositions / performers / 1956–2019 Sveshnikov); radio drama (2019. Solakiewicz, dir. / Talma-Sutt, Michał: Avalon’s Gates (**97. Rudnik, music); Imienińska, fl / Talma-Sutt, computer), The Spatial Compositions of Katarzyna Kobro Cellotronicum (**2002. Bauer, vc / (2019. screening of a film; Robakowski, dir. computer), Light and Shade (2001. tape), Rudnik, music); Soundscape One (audio-video version) Thomas, Adrian: Even’s (**76. Mazurek, hp); (**2003. tape / Gantner, video), Without title Thomas, Zach: Braid (*2019. Górczyński, cl / (**2003. New Music Orch./ Bywalec); Pałosz, vc); Tan, Anthony: Pose II. On the Shadows of Ideas Thommessen, Olav Anton: Introduction and (*2017. Nakamura, pf / SWR Macrofantasy on Grieg’s Concerto in A Minor Experimentalstudio); (*98. Örmény, pf / NPO / Michniewski), Tanaka, Karen: Song of Songs (*2002. Bauer, The Overtone (*83. Taranger, sopr / Ny vc / tape), Wave Mechanics (*98. Polish Radio Musikks Ensemble / Eggen); Orch. / Gazon); Thoresen, Lasse: Fire and Light (**98. Tanaka, Masaru: Innervation IV Leegaard, Opheim, 2 sopr / Grzybowski, (*76. Shinozaki, hp); keyboard / Mleczko, alto sax / Sikorzak-Olek, Tansman, Aleksander: Concerto for Orchestra hp / Szczecińska-Szulińska, perc / Strahl, vc (*60. NPO / Wisłocki), String Quartet No. 4 / Schola Cantorum Gedanensis / Błaszczyk), (97. Silesian String Quartet), String Quartet With an Open Hand or a Clenched Fist (*83. No. 6 (97. Silesian String Quartet); Dørum, fl), Yr (*98. Bąkowski, vn); Tao, Yu: The Peach Blossom Fan (*2012. Tiensuu, Jukka: Alma III (**98. Sinfonia Jünger, b fl / Błażejczyk, sound); Varsovia / sampler / Kaspszyk), Arsenic and Tapkov, Dimitar: Lamento (*83. Sofia PO / Ilyev); Old Lace (*95. Tiensuu, cemb / Wilanów Taranu, Cornel: Alternances (*74. Orch. Philh. String Quartet), Fantango (*96. Tiensuu, de la RTF / Amy), Ode (*73. Budoiu, bar / Ars cemb), Musica ambigua (**96. ‘Il Tempo’ Nova Cluj / Taranu), Racorduri (*72. Cluj Ensemble of Baroque Instruments; 2000. Philh. Chamber Orch. / Cristescu); Pałkowski, fl a becco / Sapiecha, Baroque Tarnopolsky, Vladimir: Echoes of the Passing vn / Pyzik, viola da gamba / Tiensuu, cemb), Day (*2004. Tantsov, cl / Galotchkina, vc / nemo (*98. Avanti! Ensemble / tape / Franck), Dubov, pf), Le vent des mots qu’il n’a pas dits Prélude mesuré (*96. Tiensuu, cemb), Puro (**96. Berger, vc / Sinfonia Varsovia / (*98. Kriikku, cl / Polish Radio Orch. / Gazon); Michniewski), Welt voll Irsinn (*95. De Ereprijs Tippett, Michael: Boyhood’s End (*61. Pears, / Boerman); ten / Britten, pf), Symphony No. 4 (*78. Tavener, John: Coplas (*73. Radiokören Scottish NO / Gibson), The Vision of Saint Stockholm / Ericson), Eonia (*91. BBC Augustine (*89. Shirley-Quirk, bar / Silesian Singers / Joly), Fall and Resurrection PO and Choir / Stryja); (*2005. Vaice, sopr / Bellini, counter-ten / Tishchenko, Boris: Concerto for Flute, Piano Kruszewski, bar / NPO and Choir / Wit), and String Orchestra (*79. Chernyadyeva / Prayer for Bass and Piano (**87. Ostapiuk / Korchmar / Leningrad Chamber Orch. Witkowski), Song (97. Kotnowska, fl), of Old and Contemporary Music / Serov); 312 \ The Bridegroom (*2004. Karasińska, Toeplitz, Kasper T.: Inoculate? (*2015. Lary, Mikołajczyk-Niewiedział, 2 sopr / Kryger, dance / Gourfink, choreography / Trio m-sopr / Rappé, alto / Huget-Skiba, Journal Intime / Cammoun, sound), MSG#9 T Walawska, 2 vn / Tużnik, vl / Steczek, vc / (**2003. Casamitjana, perc / Ensemble Moś), The Whale (*69. Dorow, sopr / Artysz, Musiques Nouvelles / tape / Dessy); bar / tape / NPO and Choir / Markowski), Topolski, Krzysztof (Arszyn): Falowanie. Today the Virgin (*91. BBC Singers / Joly), W powietrzu i w wodzie (**2017. kinetic- Two Hymns to the Mother of God (*91. BBC sound installation); Singers / Joly), We Shall See Him As He Is Tormis, Veljo: Autumn Landscapes (*73. (*95. Armanowska, sopr / Kusiewicz, Latvian Academic Choir / Cepitis), Blizzard Minkiewicz, 2 ten / NPO and Choir / and Dawn from the cycle Winter Patterns Kaspszyk); (*75. Tallinn Chamber Choir / Areng), Tchaikovsky, Boris: Concerto for Cello and Charming of the Iron (*75. Tallinn Chamber Orchestra (*66. Rostropovich / Moscow PO / Choir / Areng), Overture No. 2 (*61. Silesian Kondrashin), String Quartet No. 3 (*72. PO / Stryja), Song of Millstone (*75. Tallinn Prokofiev Quartet), Zodiac’s Signs Chamber Choir / Areng), Three Wedding (*84. Miroshnikova, sopr / Latvian Philh. Songs from Vadja (*75. Tallinn Chamber Chamber Orch. / Lifšics); Choir / Areng); Tchaikovsky, Peter: Symphony No. 5 in E Minor, Torres Maldonado, Javier: Primer libro Op. 64 (56. State Orch. of the USSR / Ivanov); del canto alado (*2008. Caroli, fl); Tempo Reale: LFO #8 (*2017. Canavese, Torstensson, Klas: Aurora borealis electr gtr / Górczyński, cl / Krzyżanowski, vc (*2002. KammarensembleN / Rivolta), Järn / Zemler, perc / Wołek, computer / Meacci, (*90. Orkest de Volharding / van Zeeland), sound / Giomi); Lantern Lectures, Volume III: Brass Link III Tempo Reale – David Moss: Many More Voices for trumpet, horn and trombone (*2002. (*2017. Moss, texts and voice / Tempo Reale: members of the KammarensembleN / Canavese, live electronics / Giomi, sound Rivolta), Polarhavet (The Polar Sea) (*2012. and live electronics); Polish Radio NSO / Vis); Tenney, James: Form 1. In memoriam Edgard Touma, Habib: Sama’i (*63. Faber, ob / Varèse (2009. New Music Orch. / Bywalec); Rzewski, pf); Termos, Paul: E Dominio (*2003. Hijmans, Toyama, Yuzo: Berceuse Itsugi (*60. Orch. electr gtr); NHK / Iwaki), Japanese Rhapsody Terterian, Avet: Symphony No. 6 (*85. Bolshoi (*60. Orch. NHK / Iwaki); Orch. Soloists, Moscow / Lazarev); Tómasson, Haukur: Concerto for Violin and Terrugi, Daniel: Aquatica (*87. tape); Chamber Ensemble (*98. Edvaldsdóttir / Terzakis, Dimitri: Chromatischer Tanz Caput Ensemble / Gunnarson), Storka (**80. Music Workshop), Gesänge der Liebe (**98. Swedish Radio SO / Swensen); und des Todes (*84. Collegium Vocale Köln), Traditional gamelan music (2017. Katawassia (*74. Collegium Vocale Köln), Kordylasińska-Pękala, Pękala, 2 perc / Sappho-Fragmente (*80. Łukomska, sopr / Warsaw Gamelan Group); Esztényi, pf), Tropi (*86. Silesian PO / Stryja); Treibmann, Karl Ottomar: Sinfonischer Essay III The Endless Register. Images and Their Musical (*73. Gruppe Neue Musik Hanns Eisler / Interpretations (2015. Exhibition within Pommer); Tremblay, Gilles: Envol (Alleluia) (*86. Ungvary, Tamás: Akonel II (*78. Aitken, fl / tape); Aitken, fl); Urbański, Kazimierz: see Krzanowski, Trębacz, Ewa: Errai (**2009. Niedźwiedź, Andrzej – Kazimierz Urbański; sopr / Boothby, cr / Trębacz, electronic Ustvolskaya, Galina: Duet for Violin and Piano composers / compositions / performers / 1956–2019 media and ambisonic sound projection / (*91. Beths / de Leeuw), Grand Duo (*86. Sowa, integration of visual spaces, lighting), Monighetti, vc / Meyer, pf), Octet (*90. Miniature (**2003. New Music Orch. / Camerata Vistula / Borkowski), Piano Sonata Bywalec), Minotaur (*2005. Kaliński, hrn / No. 5 (*91. de Leeuw), Sonata for Violin and tape), Spinning Zone (*2003. Drzymała, Piano (*62. Vayman / Karandashova), Brauhoff, Nowakowski, 3 perc / tape), things Symphony No. 1 (*2001. Gadaliński, boy sopr lost, things invisible for ambisonic space and / Gagatek, boy alto / Moscow PO / Simonow), orchestra (**2007. Karol Szymanowski Symphony No. 2 ‘True and Eternal Bliss!’ Academic SO in Katowice / Tamayo); (*2001. Rappé, alto / Silesian PO / Błaszczyk), Trifunović, Vitomir: Impulses (*76. Samardziski, Symphony No. 3 Jesus Messiah, Save Us’! cb / Slovene PO, Ljubljana / Nanut); (*2001. Rappé, alto / Silesian PO / Błaszczyk), Trojahn, Manfred: String Quartet No. 3 Symphony No. 4 'Prayer’ (*2001. Rappé, alto / (*90. Auryn-Quartett); Silesian PO / Błaszczyk), Symphony No. 5 Truax, Barry: Sonic Landscape No. 3 (*78. ‘Amen’ (*2001. Rappé, alto / Silesian PO / tape), Riverrun (2009. Miso Music Portugal’s Błaszczyk) Trio for Clarinet, Violin and Piano Loudspeaker Orch. / Azguime, sound); (2004. Tantsov / Khodina / Dubov); Tsangaris, Manos: Vivarium – Travel, Cooking, Vaggione, Horacio: Myr-S (*97. Strahl, vc / Zoo… (**2012. new version, Park, sopr / tape), Octuor (*83. tape), Scir (*90. Schmitt, Schmitz, bar / Majchrowski, speaker / cb fl / tape), Tar (**87. tape), see also European Workshop for Contemporary Polonio, Eduardo – Horacio Vaggione; Music / Pupils of the Grammar School No. 50 Valen, Fartein: Cantico di ringraziamento, Op. 17, run by the Culture and Education No. 2 (*63. Silesian PO / Stryja); Association / Bohn); Vandenbogaerde, Fernand: Hélicoïde (*2001. Tsoupaki, Calliope: Vita Nova (*2002. Harpaz, Joste, microtonal pf / tape); voice / Faulborn, cemb); Varèse, Edgard: Amériques (*72. Polish Radio Tudor, David: Rainforest (*72. Merce NSO / Kord; 2005. Polish Radio NSO / Lyndon- Cunningham Dance Company / music from Gee), Arcana (*62. NPO / Wisłocki; 96. NPO / tape); Krenz), Density 21,5 (*59. Gazzelloni, fl), Tulev, Toivo: Gare de l’Est (2012. Aukso / Moś), Déserts (*65. Instrumental Ensemble of Swing Low (*2004. Kwartludium); Poznań Philh. / tape / Markowski; 2009. Tulve, Helena: Cendres (**2001. Nyyd NPO / tape / Wit), Ecuatorial (*67. NP Choir / Ensemble / Elts), Sula (*2005. Mansikka- Orch. Philh. de la RTF / Markowski), aho, didgeridoo / Slovak Radio SO / Nagy); Hyperprism (*61. Ensemble ‘Die Reihe’ / Tuominen, Harri: Spring Shower (*75. Tallinn Cerha), Intégrales (*61. Ensemble ‘Die Reihe’ Chamber Choir / Juleoja); / Cerha; 66. NPO / Wisłocki; 69. Instrumental Turski, Zbigniew: Sinfonia da camera (61. NPO Ensemble of the Grand Theatre, Warsaw / / Wisłocki), Small Overture (58. Leningrad PO Krenz), Ionisation (72. Les Percussions / Sanderling), Titania and the Donkey (**66. de Strasbourg), Nocturnal (*83. Armanowska, symphonic fragments. Polish Radio NSO / sopr / Silesian Philh. Choir / Polish Radio Krenz; 68. Ballet Ensemble and Orch. of NSO / Wisłocki), Octandre (*60. Cracow / 313 Baltic Opera / Jarzynówna-Sobczak, Philh. Chamber Orch. / Markowski; 61. choreography / Katlewicz, musical dir.), Ensemble ‘Die Reihe’ / Cerha), Offrandes Violin Concerto (56. Topolski / Wiener (*61. Escribano, sopr / Ensemble ‘Die Reihe’ T–V Symphoniker / Gielen); / Cerha; 74. Łukomska, sopr / Orch. Philh. Tutev, Georgi: Musica concertante (*68. Sofia de la RTF / Amy), Poemè électronique (2009. Chamber Orch. / Kazandjiyev); Miso Music Portugal’s Loudspeaker Orch. / Tüür, Erkki-Sven: Architectonics III: Post­meta­ Azguime, sound), Tuning Up (2016. NPO / minimal Dream (*2001. Nyyd Ensemble / Elts), Kaspszyk), see also Mobile […]; Symbiosis (*2001. Raidmets, vn / Lukk, cb); Varga, Judit: Entitas (*2013. Ensemble Twardowski, Romuald: Antifone (**62. Modern / Heil); Silesian PO / Stryja), Campane II-III Variations ‘Trash’ – collective composition by (95. Esztényi, pf), Carmina de Mortuis, part 1: performers (*74. Ansambl Acezantez); Momento (75. Tallinn Chamber Choir / Vasks, Peteris: Cantabile (*99. Sinfonia 21 / Juleoja), Laudate Dominum (79. Szczecin Brabbins), Flying Birds Music (*97. Moscow Technical University Choir / Szyrocki), Contemporary Music Ensemble / Vinogradov), Lamentationes (85. Szczecin Technical Latvija (**87. Armanowska, sopr / Cimoszko, University Choir / Szyrocki), Nomopedia alto fl / Esztényi, pf / Ptaszyńska, cmpn), (84. Silesian PO / Stryja), Sculptures of Musica adventus (*2002. Aukso / Moś), Master Peter (74. Ballet Ensemble and Orch. Musica dolorosa per archi (*84. Latvian Philh. of the Grand Theatre, Warsaw / Kujawa, Chamber Orch. / Lifšics); choreography / Nowakowski, musical dir.), Veerhoff, Carlos H.: String Trio, Op. 56 Study in a (**76. Polish Radio and TV SO, (*91. Deutsches Streichtrio); Cracow / Halffter), The Nude Prince (**64. Veldhuis, Jacob ter: Honky Tonk Blues Ballet Ensemble and Orch. of the Grand (*2001. Worms, pf); Theatre, Warsaw / Gruca, choreography / Vercoe, Barry: Synapse (*85. Szczepański, Madey, musical dir.), Tre studi secondo Giotto vla / tape); (70. Czechoslovak Radio SO / Nohejl), Two Veress, Sándor: Diptych Landscapes (**86. Silesian PO / Stryja); (*93. Ensemble Contrechamps); Ueno, Ken: …blood blossoms… (*2015. New Vermeulen, Matthijs: Symphony No. 4 Music Orch. / Bywalec / Olko, sound), On ‘Les Victoires’ (*80. Het Residentie Orkest / a Sufficient Condition for the Existence of Most Bour); Specific Hypothesis (*2012. Ueno, overtone Vetter, Michael: Konstellationen singer / NPO / Janiak); (*67. Krauze, pf); Uijlenhoet, René: Wedge (*2001. tape); Vickery, Lindsay: Zealous Activity Uitti, Frances-Marie: Ricercare (*88. Uitti, vc); (*94. Harvey, pf); Ulherr, Birgit: 5 out of 10 (*98. European Vidovszky, László: Autoconcerto (*75. Uj Improvisation Orch.), see also 1) Björkenheim, Zenei Studió), Double (*81. Körmendi, Raoul – Birgit Ulherr – Albert Márkos – Fellegi, 2 pf), La mort de Schroeder Christer Irgens-Møller, 2) Hodgkinson, Tim (*77. Fellegi, pf), Soft Errors (*96. – Birgit Ulherr – Albert Márkos; Componensemble / Serei); Ullmann, Jakob: komposition à 9 – palimpsest Vieru, Anatol: Museum Music (*72. Cluj Philh. (*2001. Luz, sopr / United Berlin / Hirsch); Chamber Orch. / Cristescu); Villa-Lobos, Heitor: Miniatures (58. Sabatier, Scenatet), (your name here) (*2017. Aulbert, pf), Quintette pour instruments à vent voice, vn / video); (*62. The Dorian Quintet), String Trio Walter, Caspar Johannes: Fünf Ohren (*2004. composers / compositions / performers / 1956–2019 (87. Livschitz Trio); van der Poel, sopr / Thürmchen Ensemble / Viñao, Alejandro: Son entero (*91. Singcircle / Oña), Luftspiegelung (*2006. Schlagquartett tape / Rose), Toccata del Mago (*89. Köln); Camerata Vistula / Viñao, computer / Wang, Ying: ROBOTICtack (*2017. Frenkel, alto Szreder), Triple Concerto for flute, cello, piano / Ensemble Experimental / Heusinger / SWR and tape (*88. Electric Swedes: Thiwång, Experimentalstudio); Rondin, Widlund / tape), The World we Know Warsaw Autumn – The New Generation (2019. (*2008. Okoń-Makowska, sound); concert footage presentation; Jarzyna, dir.); Vine, Carl: Bagatelles I-IV (*95. Harvey, pf), Warwarin, Gala: see Enkyklopaideia; Bagatelle V (95. Harvey, pf), Sonata Warzecha, Piotr: Concerto for Orchestra (75. (*94. Harvey, pf); Polish Radio NSO / Warzecha), Concerto for Vir, Param: Hayagriva (*2007. Klangforum Four Soloists and Orchestra (79. Mrozik, fl / Wien / Furrer); Bortel, vn / Głombik, vc / Proksa, perc / Vivier, Claude: Bouchara (*96. Narucki, sopr / Polish Radio NSO / Warzecha), Penetration Schönberg Ensemble / tape / de Leeuw), (**69. Dresdner PO / Masur); Hiérophanie (*2010. Barkowski, sopr / Wassermann, Ute: see Barrett, Richard – Musikfabrik / Pomárico), Zipangu Ute Wassermann; (*99. Sinfonia 21 / Brabbins); Weber, Bartosz: improvisation (2018. Weber, Vladigerov, Pancho: Improvisation and Toccata electronics); (*61. Sofia PO / Ilyev); Webern, Anton: Das Augenlicht, Op. 26 Vlijmen, Jan van: Nonet (*91. Schönberg (58. NP Choir / Silesian Philh. Chamber Ensemble / de Leeuw), Sonata per pianoforte Orch. / Markowski), Drei Gesänge, Op. 23 e 3 gruppi strumentali (*71. Bruins / Radio (*60. Nendick, sopr / Bennett, pf), Drei Lieder, PO, Hilversum / Hupperts); Op. 18 (64. Dorow, sopr / Kostohryz, cl / Vogel, Vladimir: Graphique (*86. Livschitz Trio); Zelenka, gtr), Drei Lieder, Op. 25 (63. Nendick, Voguet, Jean: Jeu Midi No. 6 (**95. sopr / Krauze, pf), Entflieht auf leichten performance); Kähnen, Op. 2 (72. Schola Cantorum Stuttgart Voigtländer, Lothar: Drei Gesänge nach / Gottwald), Fünf Kanons, Op. 16 (*60. Ketschua-Lyrik (*93. Camerata Silesia / Nendick, sopr / Instrumental Ensemble Iwicki, perc / tape / Szostak), Variation und of NP / Markowski), Fünf Lieder, Op. 3 (81. Collage (*80. from tape); Mitręga, alto / Ensemble 20. Jahrhundert / Voinova, Marina: Wie ist es möglich? (**2005. Burwik), Fünf Sätze, Op. 5 (*58. Juilliard Moscow Contemporary Music Ensemble / String Quartet; 84. version for string Vinogradov); orchestra. Polish Chamber Orch. / Vostřák, Zbynek: Emotions (*64. Musica viva Maksymiuk; 90. Wilanów String Quartet), Pragensis / Vostřák), Tao (*71. Musica Fünf Stücke, Op. 10 (*58. Silesian Philh. viva Pragensis / Vostřák); Chamber Orch. / Markowski), I. Kantate, Op. 29 Vrhunc, Larisa: Swamp Forest (**2004. Polish- (73. Trexler, sopr / Polish Radio and TV Choir, German Youth Ensemble / Bohn), Wooden Cracow / Polish Radio NSO / Wisłocki; 78. Stones (**2003. Slavko Osterc Trio); Łukomska, sopr / ORF-Chor und -Orchester 314 \ Vriend, Jan: Bau (*70. Amsterdam Studenten Wien / Segerstam; 95. Towarnicka, sopr / Kamerorkest / Vriend); Camerata Silesia / Sinfonia Varsovia / Vries, Klaas de: …Sub nocte per umbras… Spanjaard), II. Kantate, Op. 31 (62. Łukomska, V–W (*90. Schönberg Ensemble / de Leeuw); sopr / Artysz, bar / Cracow PO and Choir / Vulcu, Sorin: Cicloide I, II, III (*77. Popa, Markowski; 95. Towarnicka, sopr / Artysz, cl and sax / Rogojina, pf and electr org / bar / Camerata Silesia / Sinfonia Varsovia / tapes); Spanjaard), Konzert für neun Instrumente, Vuursteen, Frans: Wanton Wiles (*86. Duo Op. 24 (*60. Polish Radio and TV Chamber Contemporain: Bok, b cl / Le Mair, mrb); Orch., Katowice / Krenz; 81. Ensemble Wagemans, Peter-Jan: Alla Marcia, Op. 11 20. Jahrhundert / Burwik), Passacaglia, Op. 1 (*80. Culbertson, tba / Het Residentie Orkest (66. NPO / Wisłocki), Quartett for Violin, / Bour), Three Dances (**78. Radio Chamber Clarinet, Tenor Saxophone and Piano, Op. 22 Orch., Hilversum / Bour); (81. members of Ensemble 20. Jahrhundert Wagenaar, Diderik: Rookery Hill (**99. / Burwik; 97. Anderszewska / Mykietyn / Icebreaker / McAlindin), Tam Tam Mleczko / Grzybowski), Satz für Streichtrio, (*79. Hoketus Ensemble); Op. posth. (91. Deutsches Streichtrio), Sechs Walaciński, Adam: Divertimento interrotto Bagatellen, Op. 9 (59. Quatuor Parrenin; 62. (**75. Ensemble 20. Jahrhundert / Burwik), LaSalle Quartet), Sechs Lieder, Op. 14 (81. La vida es sueño – reminiscences from Mitręga, alto / Ensemble 20. Jahrhundert / Calderon (**98. Thivång, fl / Helander, vla / Burwik), Sechs Stücke, Op. 6 (*59. NPO / Östersjö, gtr), Lyric Poems Before Falling Rowicki), Streichquartett, Op. 28 (61. Novák Asleep (64. Ensemble MW2); String Quartet; 87. Silesian String Quartet), Walczak, Maciej: AV-Quintet plus many for String Quartet 1905 (*97. version for string quintet of audio-visual instrumentalists orchestra. Münchener Kammerorchester / (**98. G. Walczak / M. Walczak / Ochotny / Poppen), Streichtrio, Op. 20 (64. Musica viva Rudi / Kanki), Just Look (**2001. Walczak, Pragensis), Symphonie, Op. 21 (*59. Silesian audio-visual performer); Philh. Chamber Orch. / Markowski; 64. Waliczky, Tamás: see Spassov, Bojidar – Ensemble Instr. de Musique Contemporaine Tamás Waliczky; / Simonovitch), Vier Lieder, Op. 13 (60. Wallin, Rolf: Boyl (*98. Oslo Sinfonietta / Nendick, sopr / Cracow Philh. Chamber Eggen), Fisher King (*2015. Hardenberger, tr Orch. / Markowski; 78. Łukomska, sopr / / NPO / Kaspszyk), Ground (*2001. Koziak, vc Radio Kamerorkest Hilversum / Bour), / Aukso / Moś), Phonotope I (*2004. Cikada Variationen, Op. 27 (63. performed as ballet. String Quartet / Wallin, computer), Solve Woroniecka, pf / Miniature Ballet of Baltic e coagula (*94. Cikada Ensemble / Eggen), Opera / Jarzynówna-Sobczak, choreography; Stonewave (92. Cracow Percussion Group), 77. Pollini, pf), Variationen, Op. 30 (*62. Polish Strøk (2010. Rudi, computer); Radio NSO / Krenz; 95. Sinfonia Varsovia / Wallin, Rolf – Josse De Pauw: Strange News Spanjaard; 98. Oslo Sinfonietta / Eggen), (*2011. Kisenyi, actor / Polish Radio NSO / Vier Stücke für Geige und Klavier, Op. 7 Valade / Wallin, De Pauw, concept / (81. members of Ensemble 20. Jahrhundert De Pauw, text, video, dir. / Green, sound); / Burwik), Zwei Lieder, Op. 8 (81. Mitręga, Walshe, Jennifer: Everything you Own has alto / Ensemble 20. Jahrhundert / Burwik), been taken to a Depot Somewhere (*2014. see also Mobile […]; Weddington, Maurice: Seul (*78. Sparnaay, Wielecki, Tadeusz – Tadeusz Wierzbicki: b cl); The Little Shoemaker and the False King, Weinberg, Moisei: Sinfonietta No. 2 (64. chamber opera for children and adults Moscow Chamber Orch. / Barshay), String (**2013. Wieczorek, voice, vn / Wierzbicki, composers / compositions / performers / 1956–2019 Quartet No. 8 (*63. Komitas Quartet); fairy tale text author, light figures’ theatre / Welin, Karl Erik: Etwas für… (*70. Poznański, lights / Semenowicz, costume); Filharmonikernas Blaser, Stockholm), Wierzbicki, Marcin: Continuo (96. Mykietyn, Manzit (68. XLII World Festival of the ISCM. cl / tape); Music Workshop), see also Enkyklopaideia; Wierzbicki, Tadeusz: see Wielecki, Tadeusz Wendel, Eugen: Diason (*86. Duo – Tadeusz Wierzbicki; Contemporain: Bok, b cl / Le Mair, perc); Wilhelm, Jens: Caravane; Tears (*70. Tom Wenjing, Guo: Parade (*2006. Schlagquartett Prehn’s Group); Köln), She Huo (*93. Nieuw Ensemble / Wilhelm Tell – collective improvisation by Spanjaard); performers (*70. Music Workshop); Wennäkoski, Lotta: λελελε Lelele Williams, Jan: see Nonimprovisation […]; monodrama, libr. by composer (*2011. Williams, Joan Frank: Humpty Dumpty Sat Freund, S / Plus Ensemble / Wikström, on a Waltz (**80. Music Workshop); lighting, stage design / Brotherus, video / Wingate, Mark: Ode To the South-Facing Form Karvonen, dir.); (*94. tape); Werle, Lars Johan: Nautical Preludes Wings (**2015. sound installation consists of (*73. Radiokören Stockholm / Ericson); works by Włodzimierz Kotoński); Werner, André: Augen-Blicke (**2009. Winter, Kirsten: see Kats-Chernin, Elena – Kowollik, alto / Schuppelius, performer / Kirsten Winter; European Workshop for Contemporary Winther, Niels: Ur open 2 (*98. European Music / Bohn), II, 1 per stygia, per manes Improvisation Orch.), see also Jørgens, vehor (*2004. Zajkowski, pf / Polish-German Pere Oliver – Niels Winther – Krzysztof Youth Ensemble / Bohn); Knittel; White, Frances: Valdrada (*91. tape); Wintule, Ruta: What a Bright Night (*73. White, John: P. T. Machine (*70. Tilbury, pf / Latvian Academic Choir / Cepitis); Music Workshop); Wishart, Trevor: Tongues of Fire (*99. tape), Whitney, James: see Klang / Licht / Duft-Spiele; Vox 2 (*91. Singcircle / tape / Rose), Vox 5 Whymss, Carlos Edmond Malcolm: (*89. tape); Quetzalcoatl (*85. Arizpe, fl / Witkowski, pf); Wisłocki, Stanisław: Piano Concerto Widłak, Wojciech: Wziemięwzięcie (2008. (56. Kędra / Silesian PO / Skrowaczewski); Bialic, org / NPO / Urbański); Wiszniewski, Zbigniew: Db-Hz-Sek (62. tape), Widmann, Jörg: Armonica (*2014. Duo für Altsaxophon und Violoncell (**84. Schönfeldinger, glass harmonica / Pituch / Wróbel), Duo per flauto e viola Frąckiewicz, acc / NPO / Kaspszyk), Insel (71. Świątek / Tomaszewski), Neffru, radio der Sirenen (**97. Faust, vn / Münchener opera (60. from tape), Pezzo concertante Kammerorchester / Poppen), Quartet per flauto alto e percussione (*77. Schmitt / (*99. Kreutzer Quartet); Rutkowski, Skoczyński and Lauks), Three Wiechowicz, Stanisław: A Letter to Marc Postludes (*63. tape), Tre pezzi della Chagall (61. Łukomska, sopr / Szostek- tradizione (*64. Cracow PO and Choir / Radkowa, m-sopr / Mikołajska and Markowski), Trio for Oboe, Harp and Viola / 315 Holoubek, recitation / NPO and Choir / (**63. Faber / Pierre / Kamasa), Tristia (*65. Wisłocki), From the Other Side of the River Instrumental Ensemble of the Grand (56. Polish Radio and TV Choir, Cracow / Theatre, Warsaw / Madey); W Kluczniok), Harvest Cantata (56. Polish Radio Wojciechowski, Sławomir: Blind Spot and TV Choir, Cracow / Kluczniok; 63. (**2013. Silesian String Quartet), Handmade Cracow Philh. Choir / Bok), Passacaglia (**2019. Plus-Minus Ensemble / Knoop / and Fugue (**60. Poznań Philh. Choir / Bereza, Niedźwiedź, sound), Rope of Sands Stuligrosz), The Little Eyes Want (56. Polish (**2009. Kwartludium); Radio and TV Choir, Cracow / Kluczniok); Wojnakowska, Natalia: Earth: Miniature no. 1 Wielecki, Tadeusz: Anamnesis (**2019. Polish (** 2014. Cracow Music Academy Radio NSO / Bancroft / Okoń-Makowska, Composition Students / Koczur); Kunda, sound), Beggar’s Ballad (**94. Cikada Wolfe, Julia: Believing (*99. Bang On A Can); Ensemble / Eggen), Collage Tango (*88. Wolff, Christian: Accompaniments (*73. Mikhashoff, pf), Concerto à rebours (**98. Rzewski, pf), For 1, 2 or 3 People (*93. Bąkowski, vn / Sinfonia Varsovia / Kaspszyk), Paradowski, sopr counter-ten­ / Stępalska, fl Ductus (91. Polish Radio Chamber Orch. / Rosenberg, pf), For Piano with Preparation ‘Amadeus’ / Duczmal), Egocentric Poem (95. (*58. Tudor), Pairs (*99. Blum, fl / Krzanowska, pf / tape), Gestures of Soul Schleiermacher, pf), Rune (*64. Tudor, pf / (90. Szoka, org / Koźlik, acc / Kapuściński, Merce Cunningham Dance Company), synth / Celiński, gtr / Skoczyński, perc), Sticks (*70. Tilbury, pf; 2011. students of Hazard and Necessity (**2006. Silesian String the Emanuel Bułhak Primary School No. 12 Quartet / tape), He Breathen Upon Him… (93. in Warsaw / Jabłonowska, Poore, dir.), Klonowski, fg / Wilson, vn / Zalewska, vn / Stones (2011. students of the Primary School Bator, vla / Grochowiecki, mime), Id (**96. No. 86 of Culture and Education Association Polish Radio NSO / Wit), I Sound Therefore in Warsaw / Żak-Kornowicz, Poore, dir.); I Am (**2017. Frąckiewicz, acc / Bojanowicz, Wolfram: see XV Parówek – Eran Sachs vc), Melody with an Accompaniment (**84. – Seventeen Migs of Springs – Wolfram; instrumental ensemble / Gawroński), Wollny, Zorka – see Zagajewski, Artur – Numerous Branches of Ramified Plaits (*89. Zorka Wollny Pokrzywiński, cl / Wróbel, vc / Miler, pf), Wolman, Amnon: Barrier, Stop for Inspection Points of Hearing (**2012. Ensemble (**2018. Wolman, live electronics / video); intercontemporain / Davin), Sound Pranks Wolpe, Stefan: String Quartet (90. Silesian (**2017. Ostapczuk, mime / Idzikowski, String Quartet); Mazur, 2 tr / Dworakowski, Tomaszczyk, Wołek, Krzysztof: Amplified, What is There? 2 tbn / Wielecki, direction), String Quartet (**2018. Kwartludium / Wołek, electronics / (2004. Silesian String Quartet), Tafle (2005. Migas, sound), Elements (**2009. Tempo Polish Radio NSO / Lyndon-Gee), Reale, live electronics / New Music Orch. / The Thread is Spinning… IV (2017. Wielecki, Bywalec), Eppur si muove (*2007. Zubel, sopr cb / European Workshop for Contemporary / Aukso / Rafalski, video / Moś), Motions, Music / Bohn), The Valley of Dry Water Stases (*2015. Walentynowicz, pf / New (**2007. Klangforum Wien / Furrer), Music Orch. / Bywalec), The Body (**2012. The Very True Story (*97. tape); Vocaallab / Polish Radio NSO / Vis), Un claro del tiempo (**2008. Caroli, fl / Kubler, sopr / Spano; 2009. European Workshop for Costanzo, pf / Giomi, Meacci, live Contemporary Music / Bohn), Voile (*97. electronics); Münchener Kammerorchester / Poppen), composers / compositions / performers / 1956–2019 Wood, James: Village Burial with Fire Zyia (2008. Kubler, sopr / Costanzo, pf); (96. Amadinda Percussion Group); Xiaosong, Qu: Mist (*93. Kappelle, sopr / Words like Sounds (**2019. screening of a film Kelong, bar / Nieuw Ensemble / Spanjaard); about Agata Zubel; Sosiński, dir.); XV Parówek – Eran Sachs – Seventeen Migs Woronow, Waleri: Andante luminoso of Springs – Wolfram: If you speak it – it is (**2001. NPO / Salwarowski); no legend (*2010. sound installation); Worsaae, Nicolai: Du hast gesagt (*2014. Yadzinski, Ed: see Nonimprovisation […]; soundwork – revised by Anna Berit Asp Yamane, Akiko: Harakiri Maiden (*2018. Christensen); Nishihara / Polish Radio NSO / Siebens / Woytowicz, Bolesław: Piano Etudes (from Okoń-Makowska, Bereza, sound); the cycle of Ten Etudes, Nos: 7, 2, 8, 9, 6, 10) Yanov-Yanovsky, Dmitri: Predestination (**97. (63. Szlachta), Poème funèbre (79. Polish Chojnacka, cemb / Moscow Contemporary Radio NSO / Warzecha), String Quartet No. 2 Music Ensemble / Vinogradov); (56. Tátrai Quartet), Symphony No. 2 ‘Warsaw’ Yashiro, Akio: Cello Concerto (*60. Tsutsumi / (56. Brno PO / Bakala), Symphony No. 3 Orch. NHK / Iwaki); (Sinfonia piano concertante) (64. B. Woytowicz Ye, Guohui: 964•Heterophony (**2014. / Polish Radio NSO / Krenz); Forbidden City Chamber Orchestra / Liu); Woźny, Joanna: as in a mirror, darkly, new Yekimovsky, Victor: Balletto (*88. Mark version (**2013. European Workshop for Pekarsky Percussion Ensemble, Moscow); Contemporary Music / Bohn), Loses (*2012. Yi, Xu: Gu Yin (*2005. Caroli, fl / Pilch, perc), Polish Radio NSO / Vis), Return (**2006. Le Plein du Vide (*2007. Ensemble Orchestral Armbruster, sax / Polish-German Youth Contemporain / Bywalec); Ensemble / Bohn); Young, La Monte: The Second Dream of Wuorinen, Charles: Bamboola Squared the High-Tension Line Stepdown Transformer (*84. tape); (*2015. The Theatre of Eternal Music Brass Wustin, Alexander: Trio for Violin, Cello and Ensemble / Neill, Blaauw, ensemble Piano (*2004. Khodina / Galotchkina / Dubov); direction / Conti, Becker, lights setup after Wyatt, Scott A.: Time Mark (94. Pilch, perc / a Marian Zazeela Dream Light concept); tape); Yuasa, Joji: Chronoplastic (*78. Polish Radio Wyttenbach, Jürg: Paraphrase (*76. Nicolet, fl and TV SO, Cracow / Wit), Eye on Genesis III / Wyttenbach, pf); (*2011. Polish Radio NSO / Valade), Icon Xenakis, Iannis: Aïs (*81. Sakkas, bar / (*69. tape), Interposiplaytion, version for Skoczyński, perc / Polish Radio and TV SO, keyboard instruments, harp and percussion Cracow / Wit), Akea (*88. Silesian String (*76. Tokk Ensemble), Mai Bataraki from Quartet / Knapik, pf), Alax (*90. NPO / Ritual for Delphi (*2005. Caroli, fl / Kraków Tabachnik), A l’île de Gorée (*87. Chojnacka, Percussion Group), Not I, but the Wind… cemb / members of the BBC Scottish SO / (84. Pituch, alto sax), Scenes from Bashô Maksymiuk), Ata (*2000. Polish Radio NSO / (*81. Polish Radio and TV SO, Cracow / Wit), Tamayo), Bohor (2001. tape), Concret PH Towards ‘The Midnight Sun’ (Homage to (*66. tape; 2009. Miso Music Portugal’s Ze-Ami) (*86. Knapik, pf / tape); 316 \ Loudspeaker Orch. / Azguime, sound), Yuhas, Dan: Coloured Lines (*2007. Israel Dämmerschein (*2001. NPO / Strugała), Contemporary Players / Nagy); Diamorphoses (*59. tape), Echange (*89. Yun, Isang: Concerto for Clarinet and Orchestra W–Z Sparnaay, b cl / Asko Ensemble / Porcelijn), (*86. Brunner / State SO of the Korean Eonta (*76. Woodward, pf / Mazurkiewicz, People’s Democratic Republic / Kim Byung Biskupski, 2 tr / Piwkowski, Kubik, Karolak, Hwa), Concerto for Violin and Orchestra 3 tbn / Bernas), Horos (*87. BBC Scottish SO (*85. Gawriloff / Ljubljana Radio and TV SO / / Maksymiuk), Idmen A, Idmen B (*86. Schola Nanut), Dimensioni (*72. Grand Orch. RTB, Cantorum Gedanensis / Warsaw Percussion Brussels / Hoffman), Distanzen (*93. Group / Łukaszewski), Jonchaies (*78. NPO / Schönberg Ensemble / de Leeuw), Strugała, 2019. NOSPR / Bancroft), Keqrops Kammerkonzert I (*90. Schönberg Ensemble (*88. Woodward, pf / Silesian PO / Stryja), / de Leeuw), Espace I (*2005. Grimmer, vc / Khoaï (*76.; 87. Chojnacka, cemb), Komboï Noth, acc), Monolog (*85. Sparnaay, b cl), (*84. Chojnacka, cemb / Gualda, perc), Music for Seven Instruments (*69. Grupo Alea Kottos (*79. Monighetti, vc), Metastasis / Gil), Octet (*2005. Ensemble TIMF / Bohn), (*64. Cracow PO / Markowski), Mikka ‘S’ Pièce concertante (*93. Schönberg Ensemble (*86. Lasocki, vn), Mists (*83. Wambach, pf), / de Leeuw; 2017. European Workshop for Mnamas Xapin (**94. Bednarczyk, Niepiekło, Contemporary Music / Bohn), Piri (*79. 2 tr / Szebesczyk, Sabeł, 2 hrn), Naama Glaetzner, ob), Quartet (*93. Schönberg (*84.; 87. Chojnacka, cemb), Nomos Gamma Ensemble / de Leeuw), Quintet for Clarinet (*2007. Karol Szymanowski Academic SO in and String Quartet (*85. Brunner / Wilanów Katowice / Tamayo), Nuits (87. Groupe Vocal String Quartet), Re-ak (*67. Cracow PO / de France / Reibel), Oopha (**89. Chojnacka, Czyż), Sonata for Oboe, Viola and Harp (*80. cemb / Gualda, perc), Persephassa (*75. H. Holliger / Fukai / U. Holliger), Symphony Les Percussions de Strasbourg), Phlegra No. 1 (*86. State SO of the Korean People’s (*80. London Sinfonietta / Zollman), Democratic Republic / Kim Byung Hwa), Pithoprakta (*62. NPO / Rowicki), Pléiades Teile dich, Nacht (*87. Elstermann, sopr / (*83. Warsaw Percussion Group), Polla ta Musica-Viva-Ensemble / Wirrmann); Dhina (*70. Pathfinder Children’s Choir / Zabel, Frank: Chant de la love (*2007. NPO / Markowski; 2016. Warsaw Boys’ Choir Polish-German Youth Ensemble / Bohn); / Polish Radio NSO / Pomàrico), Psappha Zacher, Gerd – Donald Knaack: Improvisation (*80. Knaack, perc; 84. Gualda, perc), (*80. Zacher, org / Knaack, perc); Shaar (*85. BBC Scottish SO / Maksymiuk), Zafred, Mario: Sinfonia No. 4 (*56. Silesian PO ST/10-1,080262 (*64. Ensemble Instr. / Skrowaczewski); de Musique Contemporaine / Simonovitch), Zagajewski, Artur: brut (**2014. Połoński, vc / Synaphaï (*74. Pludermacher, pf / Orch. Arte dei Suonatori / Asbury), canto (**2012. Philh. de la RTF / Amy), Syrmos (*70. European Workshop for Contemporary Amsterdam Studenten Kamerorkest / Music / Bohn), circulatio (2017. Kołodziejski, Vriend), Terrêtektorh (*67. Orch. Philh. acc / Kubit, quarter-tone acc / Polish Radio de la RTF / Bruck), Tetora (*91. Silesian NSO / Liebreich), Modulor (**2017. Kubit, String Quartet), Tetras (*83. Arditti String quarter-tone acc / Domagalski, Quartet), Thallein (*89. London Sinfonietta / Owczynnikow, Januchta, Wójciński, 4 cb), Masson; 97. Ensemble InterContemporain / Słuchodrzewisko (**2014. Zawiślak, fl / Piotrowska-Bartoszek, ob / Stefański, cl / Ensemble / Bohn), Sonata for Solo Violin Dudek, tr / Klahs, tbn / Szulc, tbn), see also (*85. Gawriloff), Symphonie in einem Satz Opera about Poland; (*84. Junge Deutsche Philh. / Holliger); Zagajewski, Artur – Zorka Wollny: Oratorio Zimmermann, Udo: Sinfonia come un grande composers / compositions / performers / 1956–2019 for Orchestra and Warsaw Citizens’ Choir lamento (*83. Rundfunk-Sinfonieorchester, (*2011. Akwarium Big Band / Warsaw Berlin / Rögner); Citizens’ Choir / Borowski); Zimmermann, Walter: Abgeschiedenheit Zakrocki, Patryk: Melodeusz (**2011. sound (Vom Nutzen des Lassens 3) (*85. Henck, pf), installation); Die Blinden (*91. Neue Vocalsolisten Zanesi, Christian: stop! l’horizon (*87. tape); Stuttgart / Junges Philh. Orch., Stuttgart / Zapf, Helmut: Canto dell’aria (*2003. Veale, ob Schreier), Lied im Wüstenvogelton (*2002. / tape), Pater noster (*93. Camerata Silesia / Ensemble Recherche); Szostak), Wandlungen (*90. Bauer, tbn / tape); Zinsstag, Gérard: Trauma (*85. Chor Zappa, Frank: G-Spot Tornado (*99. Icebreaker des Süddeutschen Rundfunks / Franz); / McAlindin), Peaches and Regalia (95. Ziporyn, Evan: Tsmindao Ghmerto De Ereprijs / Boerman), Ruth Is Sleeping (*99. Bang On A Can); (*95. Harvey, pf); Zobl, Wilhelm: Schach-Walzer Zarębski, Krzysztof – John King: Dialogues (**80. Music Workshop); (**95. performance); Zohrabyan, Ashot: Lux fulgebit (*2005. Zarin, Marger: Madrigal (*73. Latvian Simakovich, m-sopr / The Classic- Academic Choir / Cepitis); Avantgarde Soloists’ Ensemble / Baidov); Zawadzka-Gołosz, Anna: Concerto for Eight- Zorn, John: Cat O’Nine Tails; The Dead Man String Guitar and Strings (2004. Sadłowski / (*92. Kronos Quartet); Aukso / Moś), Ex motu (**2018. Polish Radio Zubel, Agata: Bildbeschreibung (*2018. Zubel, NSO / Siebens), Glissbigliando (*99. Dawidek, sopr / Wörner, bar / Klangforum Wien / ob / tape), Girare (86. tape / Pilch, perc), Engel / Böhm, Urban, sound / Nalazek, Mirrors (**99. Sinfonia 21 / Brabbins), light design), Cascando (*2008. Zubel, sopr / The Suite of Space (**2006. New Music Orch. Taub, fl / DeLuca, cl / Shmidt, vn / Sabee, / Deroyer); vc), Lentille (**2001. Zubel, sopr / Moc, acc / Zawadzka, Barbara: Esperanza (91. tape), Aukso / Moś), Not I (2014. Zubel, sopr / New Greya (2000. tape); Music Orch. / Bywalec / Bania, video layer Zechlin, Ruth: Canzoni alla notte (*77. Lorenz, preparation and realisation / Guziołek- bar / Gewandhausorchester / Masur); Tubelewicz, sound); Symphony No. 2 (*2006. Zeljenka, Ilia: Osvienčim (*67. Pandik and SO of the Academy of Music in Kraków / Gallo, recitation / Slovak PO and Choir, Czepiel), Symphony No. 3 (**2010. Blauuw, Bratislava / Rajter), String Quartet tr / Polish Orch. Sinfonia Iuventus / (*64. Novák String Quartet); Gulikers), The Streets of a Human City (**2011. Zemlinsky, Alexander: Sechs Maeterlinck European Workshop for Contemporary Gesänge, Op. 13 (*90. arr. for 9 instr. by Music / Bohn), Violin Concerto (*2018. Duda, R. de Leeuw Nos: 1 and 6, E. Stein Nos: 2 vn / European Workshop for Contemporary and 5, L. Stein Nos: 3 and 4. Hardy, m-sopr / Music / Bohn); Schönberg Ensemble / de Leeuw), Zumbach, André: Etude (*60. tape); Streichquartett No. 3 (*65. LaSalle Quartet); Zwedberg, Tommy: Through Water (*94. tape); Zender, Hans: Fragmente (*74. Collegium Zych, Wojciech Ziemowit: Différance (**2010. / 317 Vocale Köln), Hölderlin lesen (*84. Langner, Kwadrofonik), Hommage à recitation / Wilanów String Quartet), (2005. Polish Radio NSO / Lyndon-Gee), Lo-Shu II (Mondschrift) (*2003. Bledsoe, fl), Kaspar Hauser’s Friends (**2004. Marcyniak, Z Muji no kyo (*77. Delekta, bar / Mrozik, fl / fl / Gańko, sax / Michalski, b cl / Łabanow, Grabiec, vn / Mańczyk, pf / Polish Radio NSO cemb / Dafô String Quartet / Fiugajski), / Zender); Roundflow / Throughflow / Outflow (**2014. Zielińska, Lidia: Cascando (**91. Luft, Cellonet / Bauer / Błaszczak, sound), speaker / Schola Cantorum Gedanensis / Rozedrgranie (2007. R. and Z. Ibelhauptas, Łukaszewski), Conrad’s Seven Islands 2 pf), Solilokwium I – Boilinghot Mind (2000. (**2007. New Music Orch. / Bywalec), The Classic-Avantgarde Soloists’ Ensemble Expandata (2000. Pilch, tmb / tape), Fiction / Baidov), Symphony No. 1 (**2002. New (97. Polish Radio NSO / Wit), In the rear Music Orch. / Bywalec); (**2010. Guziołek-Tubelewicz, computer), Zykan, Otto: Incubation, Choreographie Little Atrophic Symphony (93. Polish Radio & Polemische Arie (*71. Salonkonzerte NSO / Wit), Music for Holy Week (*92. Schola MobArt & TonArt); Cantorum Gedanensis / Skoczyński, perc / Živković, Djuro: On the Guarding of the Heart Łukaszewski), Nobody Is Perfect (**2004. (*2014. New Music Orch. / Bywalec); Polish-German Youth Ensemble / tape / Žuraj, Vito: Re-slide (**2015, new version. Bohn), Pleonasmus (91. Pędziałek, ob / Menotti, tbn / European Workshop for Stuhr, vn / Polish Radio Chamber Orch. Contemporary Music / Bohn), Zgübleni ‘Amadeus’ / Duczmal), Saturday Dance (*2017. Frenkel, alto / Ensemble (83. Polish Chamber Orch. / Maksymiuk), Experimental / Heusinger / SWR Sinfonia concertante (**2015. Zielińska / Experimentalstudio). Przybyłowicz / Polish Radio NSO / Liebreich / Błażejczyk, sound), Slices of Music (**2013. interactive installation), Sonnet about Tatra compiled by Kazimierz Nowacki, Jolanta Mountains (87. Haftkowski, vn / Dejnowicz, tr Bilińska, Małgorzata Kosińska, Marcin / Wojtyniak, tbn and bells / Koźlik, acc), Majchrowski, Izabela Malec, Beata Ukiyo (**2012. Ensemble intercontemporain Bolesławska-Lewandowska, / Davin); Ewa Radziwon-Stefaniuk Zieliński, Maciej: Fallen Angel 8 (**2004. Nowicki, perc / tape);­ Zimmermann, Bernd Alois: Canto di speranza (*86. Boettcher, vc / Philh. Staatsorchester, Hamburg / Zender), Concerto pour violoncelle et orchestre en forme de pas de trois’ (*76. Wiederker / NPO / Michniewski), Die Soldaten (*71. Deutsche Oper am Rhein / Reinhardt, staging / Wich, musical dir.), Monologe für zwei Klaviere (*65. Duo Kontarsky), Omnia tempus habent (*2006. Schneider, sopr / Polish-German Youth Polish Composers’ Union Rynek Starego Miasta 27 00-272 Warszawa tel. (+48 22) 831 17 41, (+48 22) 831 16 34 fax (+48 22) 887 40 52 e-mail: [email protected]; www.zkp.org.pl

Honorary members: Roman Berger, Ludwik Bielawski, Teresa Chylińska, Anna Czekanowska, Zofi a Helman, , Zygmunt Krauze, Jan Krenz, Juliusz Łuciuk, Mirosław Perz, Irena Poniatowska, Paweł Szymański

PCU – an artistic association of composers and musicologists, founded in 1945, divided into nine regional branches (Bydgoszcz, Gdańsk, Katowice, Kraków, Lublin, Łódź, Poznań, Warszawa, Wrocław) and the Youth Circle. • supports musical culture as part of social life • lobbies for legal regulations in the areas of artistic music composition and academic musicological activity • stimulates and promotes artistic music composition organising and preparing: festivals, concerts, competitions, sessions, meetings, publications, commissions for music from contemporary composers and awards • organises the “Warsaw Autumn” International Festival of Contemporary Music • manages the work of the Polish Music Information Centre jointly with the Institut of Music and Dance: recordings, scores, databases, publications, discs, CD-ROM’s, public use of the collection and the website www.polmic.pl • is involved in the activity of the European Composer and Songwriter Alliance ECSA, the International Association of Music Information Centres IAMIC and the European Conference of Promoters of New Music ECPNM

Calendar of Events September 2020 – September 2021:

• 18 th-26th September 2020, Warszawa 63rd “Warsaw Autumn” International Festival of Contemporary Music • 20 th September 2020, Warszawa PCU Youth Circle concert – a “Warsaw Autumn” fringe event • 24 th September 2020, Warszawa PCU Warsaw Branch concert: “Musical Seasons – Autumn”, a “Warsaw Autumn” fringe event • 26 th September 2020, Warszawa Presentation of a website dedicated to Roman Maciejewski • October 2020, Gdańsk 17th concert in the series “New Sounds from Gdańsk” • 13 th October 2020, Poznań “Composers from Poznań and Their Guests” – concert • 19th-23rd October 2020, Poznań 49th “Poznań Music Spring” International Festival of Contemporary Music • 17 th-25th October 2020, Kraków 32nd International Festival of Cracow Composers • 23 rd-27th October 2020, Bydgoszcz 8th “New Music” Contemporary Music Festival • 25 th October 2020, Warszawa Generations XXIII – concert in the series “Generations” organised by ZAiKS Authors’ Association and Polish Radio Programme 2 • 25 th-27th October 2020, Kraków 49th Musicological Conference: “Music Theory – Musicology Here and Now. Impact of the Past – Challenges of the Present” • 14 th, 17th, 19th and 21st November 2020, Katowice 19th Silesian Days of Contemporary Music • 20 th-28th November 2020, Warszawa 3rd International Music Festival of Central-Eastern Europe “Euphonie” (co-operation) • 29 th November 2020, Wrocław Organs+ concert • 8 th-9th December 2020, Warszawa 31st “Composers’ Portraits” – a series of concerts dedicated to individual composers – concerts of music by Mateusz Ryczek and Tomasz Skweres • 14 th-17th December 2020, Łódź 76th “Musica Moderna” session accompanied by concerts of contemporary music • 12 th-19th March 2021, Poznań 50th “Poznań Music Spring” International Festival of Contemporary Music • April 2021, Łódź 77th “Musica Moderna” session accompanied by concerts of contemporary music • 10 th-18th April 2021, Kraków 33rd International Festival of Cracow Composers • May 2021, Wrocław 9th „Musica Electronica Nova” festival • 7 th-11th May 2021, Bydgoszcz 9th “New Music” Contemporary Music Festival • 8 th-14th May 2021, Warszawa 35th “Warsaw Music Encounters – Early Music – New Music” festival • June 2021, Warszawa 62nd Tadeusz Baird Competition for Young Composers – fi nal concert • 17 th-25th September 2021, Warszawa 64th “Warsaw Autumn” International Festival of Contemporary Music

PCU periodicals: • “The Polish Journal of Musicology” (in co-operation with PWM Edition) • The Yearly “Musicology Today” (in English online, in co-operation with the Institute of Musicology of University of Warsaw)

Presidium of the PCU Management Board: Mieczysław Kominek – President Krzysztof Baculewski – Vice-President Anna Zawadzka-Gołosz – Vice-President Alicja Matracka-Kościelny – Secretary General Jarosław Siwiński – Treasurer Beata Bolesławska-Lewandowska – Presidium member Alicja Gronau-Osińska – Presidium member

Presidents of PCU Regional Branches, Musicologists’ Section and Youth Circle: Andrzej Dziadek – Gdańsk Stanisław Bromboszcz – Katowice Marcel Chyrzyński – Kraków Piotr Komorowski – Kuyavian-Pomeranian Branch Mariusz Dubaj – Lublin Sławomir Kaczorowski – Łódź Monika Kędziora – Poznań Sławomir Czarnecki – Warsaw Mateusz Ryczek – Wrocław Beata Bolesławska-Lewandowska – Musicologists’ Section Aleksandra Chmielewska – Youth Circle

The PCU's activities are supported, among others, by: the Ministry of Culture and National Heritage, the Ministry of Science and Higher Education, the city councils of: Warszawa, Wrocław, Kraków, Katowice, Bydgoszcz, Lublin, Gdańsk and Poznań; the provincial authorities of: Kujawy and Pomorze, Małopolska, Śląsk and Wielkopolska; ZAiKS Authors’ Association, the Institute of Music and Dance, the National Centre for Culture, Adam Mickiewicz Institute, the PZU Foundation, the Association of Performing Artists STOART, Goethe Institut, “Pro Helvetia” – Switzerland’s Foundation for Culture and the Austrian Cultural Forum.

each recording is treated as our

a piece of art

we also make recordings for other recording companies

we have our own distribution we are in direct contact with the main musical centers in Poland,

and via internet with clients in the whole country and abroad

RECORDING OF GOOD MUSIC

www. .pl Jacek Guzowski, Krzysztof Kuraszkiewicz

phonographic firm

tel. 228983680 e-mail: [email protected] each recording is treated as our a piece of art

we also make recordings for other recording companies

we have our own distribution we are in direct contact with the main musical centers in Poland, and via internet with clients in the whole country and abroad

RECORDING OF GOOD MUSIC

www. .pl Jacek Guzowski, Krzysztof Kuraszkiewicz

phonographic firm

tel. 228983680 e-mail: [email protected]

The Editors wish to express their thanks to all the composers and performers who contributed bio notes as well as comments on their work. Every effort has been made to locate the copyright holders. We would be pleased to rectify any errors or omissions.

We regret not being able to include notes which reached us 356 \ after 20th August.

The organizers of the Festival reserve the right to alter the programme if absolutely necessary.

The Warsaw Autumn 2020 Sound Chronicle will be available from the Library of the Polish Composers’ Union / Polish Music Information Centre after the conclusion of the Festival. Composers and Authors / 2020 composers and authors / 2020 / authors and composers Ablinger Peter / 96 Penderecki Krzysztof / 41 Andre Mark / 74 Pluta Sam / 98 Aperghis Georges / 32 Poppe Enno / 178 Applebaum Mark / 216 Pstrokońska-Nawratil Christensen Christian Grażyna / 101 Winther / 217 Romańczuk Paweł / 88 Cieślak Aleksandra / 202 Rożynek Teoniki / 138, 151 Corrales Arturo / 115, 142 Rydzewska Żaneta / 139, 164 Duchnowski Cezary / 37 Sánchez-Verdú José Dufourt Hugues /180 María / 151 ElettroVoce / 35 Sarhan François / 194 Fukuoka Nina / 168 Scheller Przemysław / 129 Garnero Fernando / 117 Schneller Oliver / 148 Guim Emilio / 141 Shlomowitz Matthew / 182 / 357 Hendrich Paweł / 126 Sielicki Edward / 202 Hodkinson Juliana / 38 Silski Michał / 24 A–Z Huguet Francisco / 118 Skweres Tomasz / 127 Iannotta Clara / 181 Sowa Anna / 166 Jacaszek / 188 Srnka Miroslav / 222 Kaca Aleksandra / 48, 138 Szpyrka Monika / 162 Kagel Mauricio / 49 Trębacz Ewa / 130 Kosecka Martyna / 164 Woźny Joanna / 221 Krzewiński Kuba / 100 Zapała Rafał / 119 Kurek Piotr / 188 Zea Daniel / 114 Kwartludium / 66 Zemler Hubert / 82 Laskowski Mikołaj / 219 Zubel Agata / 35 Lundén Ida / 82 Mâche François-Bernard / 33, 150 Graphic design: Adam Dudek

Prepress: Maciej Sawicki

Typefaces: DIN Pro Minion Pro

358 \ Paper: Creamy HiBulk53g/m2 IQ offset 300g/m2 (cover)

Printing house: Drukarnia Włodarski 02-656 Warsaw 21 Ksawerów St. phone 22 853 50 98 e-mail: [email protected]

ISSN 1232-9452 Jagiellońska Otwocka

Białostocka

Kawęczyńska Zakroczymska Aleja Solidarności

Konwiktorska Ratuszowa Warszawa Stawki Markowska Park Praski Wschodnia Generała Andersa Wybrzeże Kościuszkowskie Ząbkowska

Boleść Zamoyskiego Świętojarska 6 Kijowska

Kłopotowskiego Terespolska Podskarbińska Sierakowskiego Targowa F Mińska Gocławska Anielewicza Ogród most Zamek Śląsko-Dąbrowski Grochowska Krasińskich Królewski

Nowolipki Aleja SolidarnościBielańska Sokoła Nowolipie

Aleja Zieleniecka Browarna Senatorska Dobra 12 Wybrzeże Szczecińskie Park 10 Skaryszewski 9 most Ogród Saski Świętokrzyski Międzynarodowa Elektoralna Zajęcza Królewska Oboźna Aleja Waszyngtona Park Mirowski Saska Marszałkowska Mazowiecka Francuska Kredytowa Tamka Kruczkowskiego 4

Grzybowska 11 most Walecznych 1 Nowy Świat Poniatowskiego Aleja Jana Pawła II Solec

Towarowa Obrońców Aleje Jerozolimskie Emilii Plater Zwycięzców Ludna Pałac Kultury i Nauki Książęca Złota Warszawa Centralna Czerniakowska Żurawia

Rozbrat Wiejska 13 Hoża 8 3

Lwowska

Piękna Nowowiejska Koszykowa Venues 1/ Warsaw Philharmonic / 5 Jasna St. 2/ Witold Lutosławski Polish Radio Concert Studio

Mokotowska Myśliwiecka / 59 Modzelewskiego St. 3/ ATM Studio / 384 Wał Miedzeszyński St. Aleja Armii Ludowej Filtrowa 4/ Austrian Cultural Forum / 7/9 Próżna St. 5/ Sculpture Park in Królikarnia / 113A Puławska St. 7 Aleje Ujazdowskie

Wawelska Szucha 6/ Museum of Warsaw / 28–42 Rynek Starego Miasta Sq. Polna Łazienki 7/ Pardon, To Tu / 14 Armii Ludowej Ave.

Aleja Niepodległości Waryńskiego Królewskie 8/ SPATiF Club / 45 Ujazdowskie Ave. 9/ XX1 Gallery / 36 Jana Pawła II Ave. Bagatela 10/ Mazovia Institute of Culture / 12 Elektoralna St. 11/ Fryderyk Chopin University of Music / 2 Okólnik St.

Spacerowa 12/ PWM Edition / 8 Fredry St. Goworka 13/ Komuna Warszawa / 31 Emilii Plater St. 2 5 F/ Festival Office / 27 Rynek Starego Miasta Sq.

www.warszawska-jesien.art.plwww.warsaw-autumn.art.pl

20 0 2 Warsaw Autumn Autumn Warsaw Pictograms intheprogramme: Audio broadcast andrecording Video retransmission andrecording (only available duringtheconcert) Live streaming www.warsaw-autumn.art.pl available on:

www.warszawska-jesien.art.plwww.warsaw-autumn.art.pl

20 0 2 Warsaw Autumn Autumn Warsaw Pictograms intheprogramme: Audio broadcast andrecording Video retransmission andrecording (only available duringtheconcert) Live streaming www.warsaw-autumn.art.pl available on: